The Underground Railroad, an often misunderstood antebellum institution, has been viewed as a simple combination of mainly white "conductors" and black "passengers." Keith P. Griffler takes a new, battlefield-level view of the war against American slavery as he reevaluates one of its front lines: the Ohio River, the longest commercial dividing line between slavery and freedom. In shifting the focus from the much discussed white-led "stations" to the primarily black-led frontline struggle along the Ohio, Griffler reveals for the first time the crucial importance of the freedom movement in the river's port cities and towns. Front Line of Freedom fully examines America's first successful interracial freedom movement, which proved to be as much a struggle to transform the states north of the Ohio as those to its south. In a climate of racial proscription, mob violence, and white hostility, the efforts of Ohio Valley African Americans to establish and maintain communities became inextricably linked to the steady stream of fugitives crossing the region. As Griffler traces the efforts of African Americans to free themselves, Griffler provides a window into the process by which this clandestine network took shape and grew into a powerful force in antebellum America.
A Civil War Monitor best book of 2020 A group biography of the activists who defended human rights and defined the Republican Party’s greatest hour In 1862, the ardent abolitionist William Lloyd Garrison summarized the events that were tearing apart the United States: “There is a war because there was a Republican Party. There was a Republican Party because there was an Abolition Party. There was an Abolition Party because there was Slavery.” Garrison’s simple statement expresses the essential truths at the heart of LeeAnna Keith’s When It Was Grand. Here is the full story, dramatically told, of the Radical Republicans—the champions of abolition who helped found a new political party and turn it toward the extirpation of slavery. Keith introduces us to the idealistic Massachusetts preachers and philanthropists, rugged Midwestern politicians, and African American activists who collaborated to protect escaped slaves from their captors, to create and defend black military regiments and win the contest for the soul of their party. Keith’s fast-paced, deeply researched narrative gives us new perspective on figures ranging from Ralph Waldo Emerson and John Brown, to the gruff antislavery general John Fremont and his astute wife, Jessie Benton Fremont, and the radicals’ sometime critic and sometime partner Abraham Lincoln. In the 1850s and 1860s, a powerful faction of the Republican Party stood for a demanding ideal of racial justice—and insisted that their party and nation live up to it. Here is a colorful, definitive account of their indelible accomplishment.
Collaborative Spirit-Writing and Performance in Everyday Black Lives is about the interconnectedness between collaboration, spirit, and writing. It is also about a dialogic engagement that draws upon shared lived experiences, hopes, and fears of two Black persons: male/female, straight/gay. This book is structured around a series of textual performances, poems, plays, dialogues, calls and responses, and mediations that serve as claim, ground, warrant, qualifier, rebuttal, and backing in an argument about collaborative spirit-writing for social justice. Each entry provides evidence of encounters of possibility, collated between the authors, for ourselves, for readers, and society from a standpoint of individual and collective struggle. The entries in this Black performance diary are at times independent and interdependent, interspliced and interrogative, interanimating and interstitial. They build arguments about collaboration but always emanate from a place of discontent in a caste system, designed through slavery and maintained until today, that positions Black people in relation to white superiority, terror, and perpetual struggle. With particular emphasis on the confluence of Race, Racism, Antiracism, Black Lives Matter, the Trump administration, and the Coronavirus pandemic, this book will appeal to students and scholars in Race studies, performance studies, and those who practice qualitative methods as a new way of seeking Black social justice.
This reference source focuses on post-1980 songs with English texts by American composers, written for solo voice and piano. Composer entries include biographical and bibliographical information, as well as commentary concerning the range, appropriate voice type, and musical style of the songs.
Performative Intergenerational Dialogues of a Black Quartet promotes the importance of intergenerational Black dialogue as a collaborative spirit-making across race, genders, sexualities, and cultures to bridge time and space. The authors enter this dialogue in a crisis moment: a crisis moment at the confluence of a pandemic, the national political transition of leadership in the United States, the necessary rise of Black, Indigenous, and People of Color activism—in the face of the continued murders of unarmed Black and queer people by police. And as each author mourns the loss of loved ones who have left us through illness, the contiguity of time, or murder, we all hold tight to each other and to memory as an act of keeping them alive in our hearts and actions, remembrance as an act of resistance so that the circle will be unbroken. But they also come together in the spirit of hope, the hope that bleeds the borders between generations of Black teacher-artist-scholars, the hope that we find in each other’s joy and laughter, and the hope that comes when we hear both stories of struggle and strife and stories of celebration and smile that lead to possibilities and potentialities of our collective being and becoming—as a people. So, the authors offer stories of witness, resistance, and gettin’ ovah, stories that serve as a road map from Black history and heritage to a Black futurity that is mythic and imagined but that can also be actualized and embodied, now. This book will be of interest to scholars, students, and activists in a wide range of disciplines across the social sciences and performance studies.
Born in 1901, Louise Thompson Patterson was a leading and transformative figure in radical African American politics. Throughout most of the twentieth century she embodied a dedicated resistance to racial, economic, and gender exploitation. In this, the first biography of Patterson, Keith Gilyard tells her compelling story, from her childhood on the West Coast, where she suffered isolation and persecution, to her participation in the Harlem Renaissance and beyond. In the 1930s and 1940s she became central, along with Paul Robeson, to the labor movement, and later, in the 1950s, she steered proto-black-feminist activities. Patterson was also crucial to the efforts in the 1970s to free political prisoners, most notably Angela Davis. In the 1980s and 1990s she continued to work as a progressive activist and public intellectual. To read her story is to witness the courage, sacrifice, vision, and discipline of someone who spent decades working to achieve justice and liberation for all.
William H. (Alfalfa Bill) Murray is the most important figure in the political history of Oklahoma. No other individual contributed so greatly to the formation of its political institutions—and there was never a more colorful or controversial character on the state’s political scene. Flamboyant, unpredictable, and stubborn, Alfalfa Bill became a legend. President of the Oklahoma Constitutional Convention, speaker of the first House of Representatives, two-term congressman, and governor of Oklahoma, the Texas-born Murray made an indelible mark on his adopted state. But he also made enemies. During the struggle for statehood he waged a hard battle over the constitution, taking on President Theodore Roosevelt and Secretary of War William Howard Taft. As Oklahoma governor, Murray challenged the oil industry, newspaper interests, and the state of Texas. To enforce his programs, he relied on the National Guard. While governor, Murray called out the guard forty-seven times for duties ranging from policing ticket sales at University of Oklahoma football games, to patrolling oil fields, to guarding the Red River Bridge during the infamous Bridge War with Texas. In 1932 he ran for the Democratic nomination for president, and his fame spread across the nation. When candidate Franklin D. Roosevelt offered a program for national recovery, Murray countered with “Bread, Butter, Bacon, and Beans.” In describing Murray’s frustrated efforts to preserve the agricultural American of the nineteenth century, Bryant has written a perceptive biography presenting the first clearly defined portrait of this determined but inflexible man.
The book begins with a step-by-step guide to a successful college selection process and freshman year, offering insights invaluable to students, parents, teachers, guidance counselors,and athletic recruiters. Next, notable African-American men and women tell the stories of their own college careers--from admission to graduation--in 27 short, autobiographical essays included in Part Two of the book, How I Did It. Also featured is a directory of more than 900 colleges and universities with information and statistics of particular interest to African-American students. The directory includes evaluations and listings of the most prestigious American undergraduate institutions, with detailed information on special programs and activities for African-American students, entries on historically Black U.S. colleges and universities and African and Caribbean institutions, and information on Black Greek letter organizations. A subject index concludes the guide. This is the only complete college guide specifically designed for African-American students and their counselors. The Black Student's Guide to College Success is a step-by-step quide and reference tool for students, parents, teachers, guidance counselors, and athletic recruiters--leading the reader through a successful college selection process and freshman year. A directory of more than 900 colleges and universities is provided, with information of particular interest to African-American students. Many distinguished Black educators and prominent Americans have contributed to make this work a comprehensive reference tool which addresses the questions and problems encountered by African-American students. A foreword by Dr. Louis W. Sullivan, former U.S. Secretary of Health and Human Services, introduces the first part, How to Succeed in College, featuring 14 hard-hitting essays geared to the needs of the African-American student during the college selection process and the freshman year. Of special interest are: * essays on the Black student athlete; * choosing a Black or an integrated college; * financing a college education; * connecting with students from Africa and the Caribbean; * getting along with other ethnic groups on campus; * handling academic stress; * study habits and hints; and * affirmative action. The next part, How I Did It, includes inspirational autobiographical essays on the college careers--from admission to graduation--of 27 notable African-American men and women. These success stories will motivate and encourage students as they consider their college options. The last part, Directory of Colleges and Universities, includes: (1) complete up-to-date information on more than 900 American colleges and universities (2) the names of recruiters of African-American students (3) the percentage of African-American students enrolled and those who graduate (4) the percentage of student athletes who graduate, and (5) information on African-American organizations Evaluations and listings of the most prestigious U.S. undergraduate institutions, detailed information on programs and activities of special interest to African-American students, listings of historically Black colleges and universities (and evaluations of the top ten), profiles of universities in Africa and the Caribbean, and information on national Black Greek letter organizations are also included in this thorough, accessible directory. A subject index concludes the guide. This work is especially useful for high school and public libraries, high school guidance and career counselors, college admissions offices, athletic recruiters, and African-American education organizations, as well as for aspiring African-American students in search of the motivational key to achievement in college.
From poetry to fiction to essays, American Lit 101 leaves no page unturned! Edgar Allan Poe. Willa Cather. Henry David Thoreau. Mark Twain. The list of important American writers goes on and on. These voices played a vital role in shaping the scope of American literature, and the United States itself. But too often, textbooks reduce this storied history to dry text that would put even a tenured professor to sleep. American Lit 101 is an engaging and comprehensive guide through the major players in American literature. From colonialism to postmodernism and every literary movement in between, this primer is packed with hundreds of entertaining tidbits and concepts, along with easy-to-understand explanations on why each author's work was important then and still relevant now. So whether you're looking for a refresher course on key American literature or want to learn about it for the first time, American Lit 101 has all the answers--even the ones you didn't know you were looking for.
Each encounter brings clarity and a new lens through which to understand the world, revealing how language shapes our lives and how our lives are shaped by language.
John Oliver Killens's politically charged novels And Then We Heard the Thunder and The Cotillion; or One Good Bull Is Half the Herd, were nominated for the Pulitzer Prize. His works of fiction and nonfiction, the most famous of which is his novel Youngblood, have been translated into more than a dozen languages. An influential novelist, essayist, screenwriter, and teacher, he was the founding chair of the Harlem Writers Guild and mentored a generation of black writers at Fisk, Howard, Columbia, and elsewhere. Killens is recognized as the spiritual father of the Black Arts Movement. In this first major biography of Killens, Keith Gilyard examines the life and career of the man who was perhaps the premier African American writer-activist from the 1950s to the 1980s. Gilyard extends his focus to the broad boundaries of Killens's times and literary achievement--from the Old Left to the Black Arts Movement and beyond. Figuring prominently in these pages are the many important African American artists and political figures connected to the author from the 1930s to the 1980s--W. E. B. Du Bois, Paul Robeson, Alphaeus Hunton, Langston Hughes, James Baldwin, Martin Luther King Jr., Malcolm X, Harry Belafonte, and Maya Angelou, among others.
A unique blend of memoir and scholarship, Keith Gilyard's Voices of the Self is a penetrating analysis of the linguistic and cultural "collision" experienced by African-American students in the public education system. Gilyard examines black students "negotiate" their way through school and discusses the tension between the use of Black English and Standard English, underlining how that tension is representative of the deeper conflict that exists between black culture and white expectations. Vivid descriptions—often humorous, sometimes disturbing, always moving—of Gilyard's own childhood experiences in school and society are interlaced with chapters of solid sociolinguistic scholarship. Encompassing the perspectives of both the "street" and the "academy," Voices of the Self presents an eloquent argument for cultural and linguistic pluralism in American public schools.
The opening sector of the book of Exodus is a powerful narrative and a striking example of the artistic qualities of the Pentateuch, a facet of the text that occasionally is neglected in high-level scholarship. Exodus 1-2 is finely choreographed work that compresses a vast amount of material onto a limited textual canvas, creating a story that appeals to readers of every age. Resuming where the book of Genesis leaves off--the last image of Genesis 50 is a coffin in Egypt, primed for a sequel--the first two chapters of Exodus combine a fast-moving plot with some unique shades of characterization: Israel's growth in Egypt, the rise of a malevolent new king, the birth of a hero and early experiences of adversity for the main character in the story to come. The burden of slavery and miracle of salvation are introduced in this sector of text, and become paradigmatic examples of divine redemption that reverberate throughout the Hebrew Bible and beyond. An Ark on the Nile: The Beginning of the Book of Exodus is a close-reading of Exodus 1-2 that analyzes the story as a reasonably self-contained unit, but suggesting that major plot movements in the book of Exodus are foreshadowed and anticipated here. Applying a number of insights from literary theory, Keith Bodner offers an illustration of further integration of biblical studies with cross-disciplinary narrative interpretation.
Black Cowboys of Rodeo is a collection of one hundred years’ worth of firsthand cowboy stories, set against the backdrop of Reconstruction, Jim Crow, segregation, the civil rights movement, and eventually the integration of a racially divided country.
Many blacks in the workplace face a set of dynamics unique to being African American in a traditionally white, male-dominated world. In this landmark book, authors Ancella Livers and Keith Caver-- co-facilitators of the Center for Creative Leadership's African-American Leadership Program for the past five years-- explain how the leadership experience for blacks is radically different from the experiences of their white colleagues. These differences, of which most white managers are unaware, can lead to miscues and distortions in communication and ultimately get in the way of effective performance and optimal productivity for organizations. In Leading in Black and White, the authors not only clearly explain how things go wrong, they also provide sensible solutions for both the white manager and the black manager on how to make them right.
On African-American Rhetoric traces the arc of strategic language use by African Americans from rhetorical forms such as slave narratives and the spirituals to Black digital expression and contemporary activism. The governing idea is to illustrate the basic call-response process of African-American culture and to demonstrate how this dynamic has been and continues to be central to the language used by African Americans to make collective cultural and political statements. Ranging across genres and disciplines, including rhetorical theory, poetry, fiction, folklore, speeches, music, film, pedagogy, and memes, Gilyard and Banks consider language developments that have occurred both inside and outside of organizations and institutions. Along with paying attention to recent events, this book incorporates discussion of important forerunners who have carried the rhetorical baton. These include Frederick Douglass, Harriet Jacobs, Sojourner Truth, Anna Julia Cooper, W. E. B. Du Bois, Zora Neale Hurston, Malcolm X, Martin Luther King, Jr., Toni Cade Bambara, Molefi Asante, Alice Walker, and Geneva Smitherman. Written for students and professionals alike, this book is powerful and instructive regarding the long African-American quest for freedom and dignity.
An examination of metaphor in poetry as a microcosm of the human imagination—a way to understand the mechanisms of creativity. In The Spider's Thread, Keith Holyoak looks at metaphor as a microcosm of the creative imagination. Holyoak, a psychologist and poet, draws on the perspectives of thinkers from the humanities—poets, philosophers, and critics—and from the sciences—psychologists, neuroscientists, linguists, and computer scientists. He begins each chapter with a poem—by poets including Samuel Taylor Coleridge, Sylvia Plath, Walt Whitman, Emily Dickinson, Robert Frost, Theodore Roethke, Du Fu, William Butler Yeats, and Pablo Neruda—and then widens the discussion to broader notions of metaphor and mind. Holyoak uses Whitman's poem “A Noiseless Patient Spider” to illustrate the process of interpreting a poem, and explains the relevance of two psychological mechanisms, analogy and conceptual combination, to metaphor. He outlines ideas first sketched by Coleridge—who called poetry “the best words in their best order”—and links them to modern research on the interplay between cognition and emotion, controlled and associative thinking, memory and creativity. Building on Emily Dickinson's declaration “the brain is wider than the sky,” Holyoak suggests that the control and default networks in the brain may combine to support creativity. He also considers, among other things, the interplay of sound and meaning in poetry; symbolism in the work of Yeats, Jung, and others; indirect communication in poems; the mixture of active and passive processes in creativity; and whether artificial intelligence could ever achieve poetic authenticity. Guided by Holyoak, we can begin to trace the outlines of creativity through the mechanisms of metaphor.
South Carolina contributed two brigades of infantry, two regiments of cavalry and several artillery batteries to the Battle of Gettysburg in July of 1863. Their veterans related accounts of heroism and fear, triumph and loss for the remainder of their lives. These are their stories. Gleaned from diaries, letters and newspaper articles written immediately after the great battle and throughout the balance of the lives of its veterans, these stories place the reader in the boots of the men who lived the experience. Included with the firsthand accounts are maps of the fields fought for by these sons of the Palmetto State and photographs of a number of the soldiers involved. Along with battle histories and the individual exploits of the brigades led by General Joseph Kershaw, General Wade Hampton and Colonel Abner Perrin are accounts of the artillery batteries from South Carolina and the improvised cavalry command assembled from scattered companies by Colonel John Logan Black, who had been left behind due to wounds from an earlier battle. Black was determined to rejoin the army as soon as he was able and caught up with General Robert E. Lee with two companies and other miscellaneous cavalrymen who had been separated from their regiments. His improvised command participated in all three days of the battle before rejoining Hampton's Brigade. Also covered are the annual reunions where the old soldiers gathered to camp once again on the fields of Gettysburg. The veterans recount many tales of reconnecting with old comrades, memories of those who never made it home, and their reconciliation with former enemies. Every strata of the soldier experience at Gettysburg is represented from the highest general to the lowliest private. Every life is a story and provides a piece toward completing the puzzle of the human experience at Gettysburg.
I don’t know if Keith Franklin is a great poet or no. But I know that he is a born poet. Anyway, he wrote at least one poem that deserves to be included into any anthology of contemporary American poetry. In this poem Keith Franklin confesses that since childhood he liked to steal pencils. It means that subconsciously he was trying to create his own rainbow. What is this rainbow? It is a symbol of the diversity of life. It is a symbol of the human right to possess all the colors given to us by eternity. Inside our mothers, not yet born, all of us are lying down like new unsharpened pencils in their tender, warm, breathing pencil-boxes. Some of us unfortunately are doomed to use only our own self-eraser, fixed at one tip of the pencil’s body with a little metal ring. Only the strong artists are able to sharpen the opposite tip of pencils and create with a colorful graphite, liberated from the wooden pencil’s body, their own rainbow, not stolen from others. Keith Franklin belongs to this stubborn breed of artist. — Yevgeny Yevtushenko
In Fettered Genius, Keith D. Leonard identifies how African American poets' use and revision of traditional poetics constituted an antiracist political agency. Comparing this practice to the use of poetic mastery by the ancient Celtic bards to resist British imperialism, Leonard shows how traditional poetics enable African American poets to insert racial experience, racial protest, and African American culture into public discourse by making them features of validated artistic expression. As with the Celtic bards, these poets' artistry testified to their marginalized people's capacity for imagination and reason within and against the terms of the dominant culture. In an ambitious survey that moves from slavery to the cultural nationalism of the 1960s, Leonard examines numerous poets, placing each in the context of his or her time to demonstrate the antiracist meaning of their accomplishments. The book offers new insight on the conservatism of Phillis Wheatley, Paul Laurence Dunbar, and the genteel members of the Harlem Renaissance, how their rage for assimilation functioned to refute racist notions of difference and, paradoxically, to affirm a distinctive racial experience as valid material for poetry. Leonard also demonstrates how the more progressive and ethnically distinctive poetics of Langston Hughes, Sterling Brown, Gwendolyn Brooks, Robert Hayden, and Melvin B. Tolson share some of the same ambivalence about cultural achievement as those of the earlier poets. They also have in common the self-conscious pursuit of an affirmation of the African American self through the substitution of African American vernacular language and cultural forms for traditional poetic themes and forms. The evolution of these poetics parallels the emergence of notions of ethnic identity over racial identity and, indeed, in some ways even motivated this shift. Leonard recognizes poetic mastery as the African American bardic poet's most powerful claim of ethnic tradition and of social belonging and clarifies the full hybrid complexity of African American identity that makes possible this political self-assertion. The development that is traced in Fettered Genius illustrates nothing less than the defining artistic coherence and political significance of the African American poetic tradition.
Praised for the way it introduces students to the elements of argument, the sixth edition offers more complete coverage of the Toulmin model, a new focus on problem solving, and a section on visual argument.
Historically employed to estimate and measure the likely material requirements for any building project, the role of the modern quantity surveyor is diverse, with a wide range of employers and geographical locations to match. Change continues to be a feature in quantity surveying practice, with the New Rules of Measurement, the RICS Black Book and Building Information Modelling (BIM) all adding to the already dynamic environment in which the Quantity Surveyor operates. This new edition of Practice and Procedure for the Quantity Surveyor reflects that dynamic environment, addressing changing practices and procedures in the profession, whilst focussing on the core skills which are essential to success. The 13th edition of this classic text, originally written by three generations of the Willis family (all quantity surveyors) continues to provide a thorough introduction to the work of the quantity surveyor in private practice, in public service and in contracting organisations.
The Federation of Africa is the coming of age story of African Americans through the eyes of the Sinclair family.King Cornell represents the dreamsand passions that exist in all people. His nobility inspires all of usto achieve greatness and todare to be a part ofa history bigger than one self. This simple storyfollows the triumph of one African familyin the diasporaover the oppression, self hatred and self denial that has ravaged our communities.From the crucibleof thisAmericanexperience,Plato's famedPhilosopher King will emerge. This bookpresents the next stepin the evolutionary process forour people and how we will use this stage to lead all humans to greatness in the future.
Football tradition at the University of Oklahoma still runs strong, as does the record of forty-seven consecutive victories that legendary coach Bud Wilkinson and his players set in the 1950s. Approached but never equaled by teams such as Washington, Miami, and Texas, the streak contributed to the acclaim Wilkinson garnered by amassing an impressive three national championships (1950, 1955, and 1956), twelve consecutive conference titles, twenty-three straight wins on opposing fields, Top Ten rankings for eleven successive years, and a thirty-one game winning streak before the unforgettable “forty-seven straight.” Forty-seven Straight details how the record grew, season by season, as told by sixty-one of Wilkinson’s players during interviews with Harold Keith, the university’s sports publicist who witnessed all 178 football games during the Wilkinson era at OU. The players recall Wilkinson’s and his staff’s style, methods, and strategies while vividly recalling their most dramatic games. The scholastic integrity of Wilkinson’s program, which included high academic standards and graduation rates, produced a successful group of career-minded players.
The literature often considered the most American is rooted not only in European and Western culture but also in African and American Creole cultures. Keith Cartwright places the literary texts of such noted authors as George Washington Cable, W.E.B. DuBois, Alex Haley, Zora Neale Hurston, Ralph Ellison, William Faulkner, Joel Chandler Harris, Herman Melville, Toni Morrison, and many others in the context of the history, spiritual traditions, folklore, music, linguistics, and politics out of which they were written. Cartwright grounds his study of American writings in texts from the Senegambian/Old Mali region of Africa. Reading epics, fables, and gothic tales from the crossroads of this region and the American South, he reveals that America's foundational African presence, along with a complex set of reactions to it, is an integral but unacknowledged source of the national culture, identity, and literature.
Recipient of a 2023 Certificate of Merit for Best Historical Research in Recorded Jazz from the Association for Recorded Sound Collections Keith Hatschek tells the story of three determined artists: Louis Armstrong, Dave Brubeck, and Iola Brubeck and the stand they took against segregation by writing and performing a jazz musical titled The Real Ambassadors. First conceived by the Brubecks in 1956, the musical’s journey to the stage for its 1962 premiere tracks extraordinary twists and turns across the backdrop of the civil rights movement. A variety of colorful characters, from Broadway impresarios to gang-connected managers, surface in the compelling storyline. During the Cold War, the US State Department enlisted some of America’s greatest musicians to serve as jazz ambassadors, touring the world to trumpet a so-called “free society.” Honored as celebrities abroad, the jazz ambassadors, who were overwhelmingly African Americans, returned home to racial discrimination and deferred dreams. The Brubecks used this double standard as the central message for the musical, deploying humor and pathos to share perspectives on American values. On September 23, 1962, The Real Ambassadors’s stunning debut moved a packed arena at the Monterey Jazz Festival to laughter, joy, and tears. Although critics unanimously hailed the performance, it sadly became a footnote in cast members’ bios. The enormous cost of reassembling the star-studded cast made the creation impossible to stage and tour. However, The Real Ambassadors: Dave and Iola Brubeck and Louis Armstrong Challenge Segregation caps this jazz story by detailing how the show was triumphantly revived in 2013 by the Detroit Jazz Festival and in 2014 by Jazz at Lincoln Center. This reaffirmed the musical’s place as an integral part of America’s jazz history and served as an important reminder of how artists’ voices are a powerful force for social change.
One of the South’s most revered writers, Ernest J. Gaines attracts both popular and academic audiences. Gaines’s unique literary style, depiction of the African American experience, and celebration of the rural South’s oral tradition have brought him critical praise and numerous accolades, including a MacArthur Fellowship, a National Humanities Medal, and a National Book Critics Circle Award for his novel A Lesson before Dying. In this welcome guide to Gaines’s fiction, Keith Clark offers insightful analyses of his novels and short stories. Clark’s close readings elucidate Gaines’s more acclaimed works—including The Autobiography of Miss Jane Pittman and A Gathering of Old Men—while also introducing lesser-known but masterfully crafted pieces, such as the story “Three Men” and the civil rights novel In My Father’s House. Gaines’s most recent work, The Tragedy of Brady Sims, receives here one of its first critical examinations. Clark shows how the themes of Gaines’s literary oeuvre, produced over the past fifty years, dovetail with issues reverberating in twenty-first-century America: race and the criminal justice system; black masculinity; the environment; the enduring impact of slavery; black southern women’s voices; and blacks’ and whites’ interpretation of history. In addition to textual discussions, the book includes an interview Clark conducted with Gaines at the writer’s home in New Roads, Louisiana, in 2014, further illuminating the inner workings and personality of this eminent literary artist.
From 1972 to 1976, Hollywood made an unprecedented number of films targeted at black audiences. But following this era known as “blaxploitation,” the momentum suddenly reversed for black filmmakers, and a large void separates the end of blaxploitation from the black film explosion that followed the arrival of Spike Lee’s She's Gotta Have It in 1986. Illuminating an overlooked era in African American film history, Trying to Get Over is the first in-depth study of black directors working during the decade between 1977 and 1986. Keith Corson provides a fresh definition of blaxploitation, lays out a concrete reason for its end, and explains the major gap in African American representation during the years that followed. He focuses primarily on the work of eight directors—Michael Schultz, Sidney Poitier, Jamaa Fanaka, Fred Williamson, Gilbert Moses, Stan Lathan, Richard Pryor, and Prince—who were the only black directors making commercially distributed films in the decade following the blaxploitation cycle. Using the careers of each director and the twenty-four films they produced during this time to tell a larger story about Hollywood and the shifting dialogue about race, power, and access, Corson shows how these directors are a key part of the continuum of African American cinema and how they have shaped popular culture over the past quarter century.
In his final speech “I've Been to the Mountaintop,” Martin Luther King Jr. delivered his support of African American garbage workers on strike in Memphis. Although some consider this oration King's finest, it is mainly known for its concluding two minutes, wherein King compares himself to Moses and seems to predict his own assassination. But King gave an hour-long speech, and the concluding segment can only be understood in relation to the whole. King scholars generally focus on his theology, not his relation to the Bible or the circumstance of a Baptist speaking in a Pentecostal setting. Even though King cited and explicated the Bible in hundreds of speeches and sermons, Martin Luther King's Biblical Epic is the first book to analyze his approach to the Bible and its importance to his rhetoric and persuasiveness. Martin Luther King's Biblical Epic argues that King challenged dominant Christian supersessionist conceptions of Judaism in favor of a Christianity that affirms Judaism as its wellspring. In his final speech, King implicitly but strongly argues that one can grasp Jesus only by first grasping Moses and the Hebrew prophets. This book also traces the roots of King's speech to its Pentecostal setting and to the Pentecostals in his audience. In doing so, Miller puts forth the first scholarship to credit the mostly unknown, but brilliant African American architect who created the large yet compact church sanctuary, which made possible the unique connection between King and his audience on the night of his last speech.
Mark Avery and Keith Betton, passionate birdwatchers and conservationists, interview members of the birdwatching community about the lives of famous birdwatchers. They take you behind the scenes, and behind the binoculars, of a diverse range of birding and wildlife personalities.
This first book-length study of John Oliver Killens aims to help secure his place in literary history and explores his creation of an inspiring Black vernacular art—one that ennobles people of African descent and urges their political liberation. No serious history of the development of the African American novel from the 1950s onward can be written without reference to John Oliver Killens. A two-time nominee for the Pulitzer Prize and founding chairman of the legendary Harlem Writers Guild, Killens was regarded by many as a spiritual father who inspired a generation of African American novelists with his politically charged works. And yet today he rarely receives proper critical attention. Seeking to strengthen our understanding of this important literary figure, Keith Gilyard departs from standard critical frameworks to reveal Killens’s novels as artful renderings of rich African American rhetorical forms and verbal traditions. Gilyard finds that many critics, adhering to ideals of art for art’s sake or narrative conciseness, are ill-equipped to appreciate the many ways in which Killens’s fiction succeeds. Rejecting the "pure art" position, Killens sought to articulate Black heroism particularly within a family or community context, offering a set of values he deemed liberatory. He focused on rendering noble and polemical characters, and his work represents a distinguished fusion of sociopolitical persuasion (rhetoric) and literary artifact (poetics). To help illuminate such novels as Youngblood (1954), And Then We Heard the Thunder (1962), and The Cotillion (1971), Gilyard examines Killens’s work as an essayist and cultural organizer, highlighting his activism. His life and literary production can be partly characterized, Gilyard suggests, by the African American jeremiad—a major rhetorical form in the Black intellectual tradition expressing faith that America’s destiny is to become an authentic, pluralistic democracy.
Providing a comprehensive account of marine conservation, this book examines human use and abuse of the world's seas and oceans and their marine life, and the various approaches to management and conservation. Healthy marine ecosystems - the goods and services that they provide - are of vital importance to human wellbeing. There is a pressing need for a global synthesis of marine conservation issues and approaches. This book covers conservation issues pertinent to major groups of marine organisms, such as sharks, marine turtles, seabirds and marine mammals; key habitats, from estuaries, wetlands and coral reefs to the deep sea; and from local and regional to international initiatives in marine conservation. An ideal resource for students, researchers and conservation professionals, the book pays appropriate attention to the underlying marine biology and oceanography and how human activities impact marine ecosystems, enabling the reader to fully understand the context of conservation action and its rationale.
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