Kerouac and Friends: A Beat Generation Album by Fred W. McDarrah and Timothy S. McDarrah Thundersmouth Press, 2002 Photographs, especially casual snapshots, have the power to convince us that life is ...made up of infinite moments of intimate banality punctuated by the drama of great events of historical importance. The book design underplays their authority as well, printing up to four images on a page, diluting the steady power of McDarrah's original vision. Arms outstretched like Jesus on the cross, his expression is intense and his face is twisted with passion as the literary greats Allen Ginsberg, Gregory Corso and LeRoi Jones (Amiri Baraka) look on.
Cummings examines how three contemporary African American women poets wrote in hopes of transforming the subjectivity of their imagined audiences. Just as language poetry has infused mainstream ...American poetry with a new awareness of its medium, Hunt, Mullen, and other innovative writers' work portends new directions in African American literature and American poetry more generally.
Chaney attempts to investigate the possible answers to the question on where does technology lead to in Ishmael Reed's novel "Flight to Canada." He further explores Reed's fascination with ...African-American culture as a viral form of information that eventually causes an imperialist crisis of communication control (cybernetics) and his analogy between two kinds of hybrids in the novel, the man-machine cyborg and the animal-man hybridizing of slaves.
The article opens with an overview of major Africana paradigms of the late 20th. century--from Black Aestheticism of the seering 60s and 70s, to Afrocentricity of the 80s, to Africana Womanism of the ...late 80s and into the 21st. century, and more. It begs for a recall of the marriage between thought and action, the ultimate paradigm shift as a means of successfully reuniting these two poles.
The Black Romance Edmondson, Belinda
Women's studies quarterly,
04/2007, Volume:
35, Issue:
1/2
Journal Article
Peer reviewed
Further, over a decade ago African American feminist scholars Claudia Tate and Ann duCille broke new ground when they attempted to rehabilitate the African American romance by arguing for its ...political relevance and relationship to the supposedly more "authentic" fiction that critics focused on as the progenitors of modern African American literature. Building on both these arguments, I am making the claim that, even in its earliest conception, the romance in both African American and Afro-Caribbean writing has never been completely separate from that of other, more explicitly nationalist, genres such as the protest novel.1 Further, I posit that the black-on-black erotica that now defines the African diaspora romance had its earlier progenitors in a combination of earlier romance plots: in the "coupling convention," as duCille puts it, of early African American narrative in which the black hero and heroine couple marry for the good of the community; as well as in the more problematic issue of the black-white interracial romance.
Having no heirs to receive his huge fortune, in 1925 Simon Guggenheim created the John Simon Guggenheim Memorial Foundation in honor of his first-born son.* The purpose of the grant program, as ...stated by Simon Guggenheim, was "to add to the educational, literary, artistic, and scientific power of this country, and also to provide for the cause of better international understanding." According to the foundation's records, Hurston's fellowship in 1936 was awarded to her for "the gathering of material for books on authentic Negro folk-life, in particular the study of magic practices among Negroes in the West Indies." Zollar holds a bachelor's degree in dance from the University of Missouri at Kansas City and a master of fine arts degree in dance from Florida State University.
Black women are a prism through which the searing rays of race, class and sex are first focused, then refracted. The creative among us transform these rays into a spectrum of brilliant colors, a ...rainbow that illuminates the experience of all humankind. Here, Wilkerson shares how these ideas shaped the prism of her life: her identity as an African American woman, her passion for theater as a powerful means of persuasion, her commitment to help make the world a better place, and her belief that knowledge is a powerful and critical tool for living in this world.
Playwright Aishah Rahman died in December at the age of 78. Rahman was active in the 1960s Black Arts Movement, alongside Amiri Baraka and other colleagues. Her playwriting credits include The Mojo ...and the Say so, Only in America and the play with music Lady Day: A Musical Tragedy.
Georgia Douglas Johnson is the central figure in an American dramatic genre formed by the responses of playwrights to the racial violence of lynching. Johnson was one of the earliest African American ...women playwrights and, with approximately 28 dramas addressing both racial and non-racial themes, one of the most prolific of her era. Stephens provides a view of Johnson as both an outspoken advocate in the anti-lynching movement and a central figure in the lynching drama tradition.
