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Author : Darius James Publisher : New York Review of Books Page : 208 pages File Size : 44,7 Mb Release : 2019-02-19 Category : Fiction ISBN : 9781681373485
A provocative, raucous dark comedy about race and racism in America, now back in print after twenty-five years and with a new preface by the author. Darius James’s scabrous, unapologetically raunchy, truly hilarious, and deeply scary Negrophobia is a wild-eyed reckoning with the mutating insanity of American racism. A screenplay for the mind, a performance on the page, a work of poetry, a mad mix of genres and styles, a novel in the tradition of William S. Burroughs and Ishmael Reed that is like no other novel, Negrophobia begins with the blonde bombshell Bubbles Brazil succumbing to a voodoo spell and entering the inner darkness of her own shiny being. Here crackheads parade in the guise of Muppets, Muslims beat conga drums, Negroes have numbers for names, and H. Rap Remus demands the total and instantaneous extermination of the white race through spontaneous combustion. By the end of it all, after going on a weird trip for the ages, Bubbles herself is strangely transformed.
Negrophobia and Reasonable Racism by Jody David Armour Pdf
Jody Armour believes that, despite the fact that most whites today are racially well intentioned, race-based mistrust and misunderstanding pose one of the greatest obstacles to racial harmony in contemporary America. Beset by media images of black criminality, whites consistently cite statistics, trends, and past experiences to support their deep distrust of backs, a distrust blacks deeply resent. Negrophobia and Reasonable Racism is a crucial book, at a crucial time, just as white America is gradually coming to understand the hidden travails of African American life: the suspicious glances in department stores, the baseless questioning by police, the inability to get a taxi. Armour shows convincingly how this phenomenon has been so persistent as to constitute, literally, a tax on African Americans, sapping them of resources, opportunity, time, and energy. Skillfully drawing on a wide range of referents, from Greek mythology to Thomas Bayes, the father of statistics, armour plumbs our racial psychology and in the process exposes the racialized nature of our daily life and of our legal system. Unlike so much recent writing on race in America, Jody Armour's book is no plaintive cry of despair. His perspective is rooted in a measured, even hopeful belief that we both must and can overcome racial bias. Toward that end, he introduces specific ways in which we can overcome the unconscious discrimination and the automatic negative responses that tax blacks and so trouble progressive whites.
Black leaders led congregations, edited periodicals and taught classes, building a rich civic culture in the midst of Jim Crow. A new world was being born.".
Go Home or Die Here by Shireen Hassim,Tawana Kupe,Eric Worby,Alex Eliseev,Rolf Maruping,Daryl Glaser,Noor Nieftagodien,Stephen Gelb,Devan Pillay,Loren Landau,David Coplan,Julia Hornberger,Melinda Silverman,Tanya Zack,Anton Harber,Cathi Albertyn,Andile Mngxitama,Pumla Dineo Gqola,Véronique Tadjo Pdf
The xenophobic attacks that started in Alexandra, Johannesburg in May 2008 before quickly spreading around the country caused an outcry across the world and raised many fundamental questions: Of what profound social malaise is xenophobia – and the violence that it inspires – a symptom? Have our economic and political choices created new forms of exclusion that fuel anger and distrust? What consequences does the emergence of xenophobia hold for the idea of an equal, non-racial society as symbolised by a democratic South Africa? On 28 May 2008 the Faculty of Humanities in the University of the Witwatersrand, Johannesburg convened an urgent colloquium that focused on searching for short and long-term solutions. Nearly twenty individuals – mostly Wits academics from a variety of disciplines, but also two student leaders, a journalist and a bishop – addressed the unfolding violence in ways that were conversant with the moment, yet rooted in scholarship and ongoing research. Go Home or Die Here emanates directly from the colloquium. It hopes to make sense of the nuances and trajectories of building a democratic society out of a deeply divided and conflictual past, in the conditions of global recession, heightening inequalities and future uncertainty. The authors hoped to pose questions that would lead both to research and to more informed, reflective forms of public action. With extensive photographs by award-winning photographer Alon Skuy, who covered the violence for The Times newspaper, the volume is passionate and engaged, and aims to stimulate reflection, debate and activism among concerned members of a broad public.
Drawing on interviews with the black survivors of Nazi concentration camps and archival research in North America, Europe, and Africa, this book documents and analyzes the meaning of Nazism's racial policies towards people of African descent, specifically those born in Germany, England, France, the United States, and Africa, and the impact of that legacy on contemporary race relations in Germany, and more generally, in Europe. The book also specifically addresses the concerns of those surviving Afro-Germans who were victims of Nazism, but have not generally been included in or benefited from the compensation agreements that have been developed in recent years.
A refreshingly clearheaded and taboo-breaking look at race relations reveals that American culture is neither Black nor White nor Other, but a mix-a mongrel. Black Like You is an erudite and entertaining exploration of race relations in American popular culture. Particularly compelling is Strausbaugh's eagerness to tackle blackface-a strange, often scandalous, and now taboo entertainment. Although blackface performance came to be denounced as purely racist mockery, and shamefacedly erased from most modern accounts of American cultural history, Black Like You shows that the impact of blackface on American culture was deep and long-lasting. Its influence can be seen in rock and hiphop; in vaudeville, Broadway, and gay drag performances; in Mark Twain and "gangsta lit"; in the earliest filmstrips and the 2004 movie White Chicks; on radio and television; in advertising and product marketing; and even in the way Americans speak. Strausbaugh enlivens themes that are rarely discussed in public, let alone with such candor and vision: - American culture neither conforms to knee-jerk racism nor to knee-jerk political correctness. It is neither Black nor White nor Other, but a mix-a mongrel. - No history is best forgotten, however uncomfortable it may be to remember. The power of blackface to engender mortification and rage in Americans to this day is reason enough to examine what it tells us about our culture and ourselves. - Blackface is still alive. Its impact and descendants-including Black performers in "whiteface"-can be seen all around us today.
Frantz Fanon's 'Black Skin, White Masks' by Max Silverman Pdf
"This book will be essential reading for students and researchers in the areas of postcolonial studies, French and Francophone studies, cultural studies, ethnic and racial studies, politics, literature and psychoanalysis, and all those concerned, like Fanon, with the quest for human freedom."--BOOK JACKET.
Interrogates conventional assumptions and frames a transformational new way of thinking about law, language, moral judgments, politics, and transgressive art - especially profane genres like gangsta rap - and exposes where racial bias lives in the administration of justice and everyday life
“Stony the Road presents a bracing alternative to Trump-era white nationalism. . . . In our current politics we recognize African-American history—the spot under our country’s rug where the terrorism and injustices of white supremacy are habitually swept. Stony the Road lifts the rug." —Nell Irvin Painter, New York Times Book Review A profound new rendering of the struggle by African-Americans for equality after the Civil War and the violent counter-revolution that resubjugated them, by the bestselling author of The Black Church. The abolition of slavery in the aftermath of the Civil War is a familiar story, as is the civil rights revolution that transformed the nation after World War II. But the century in between remains a mystery: if emancipation sparked "a new birth of freedom" in Lincoln's America, why was it necessary to march in Martin Luther King, Jr.'s America? In this new book, Henry Louis Gates, Jr., one of our leading chroniclers of the African-American experience, seeks to answer that question in a history that moves from the Reconstruction Era to the "nadir" of the African-American experience under Jim Crow, through to World War I and the Harlem Renaissance. Through his close reading of the visual culture of this tragic era, Gates reveals the many faces of Jim Crow and how, together, they reinforced a stark color line between white and black Americans. Bringing a lifetime of wisdom to bear as a scholar, filmmaker, and public intellectual, Gates uncovers the roots of structural racism in our own time, while showing how African Americans after slavery combatted it by articulating a vision of a "New Negro" to force the nation to recognize their humanity and unique contributions to America as it hurtled toward the modern age. The story Gates tells begins with great hope, with the Emancipation Proclamation, Union victory, and the liberation of nearly 4 million enslaved African-Americans. Until 1877, the federal government, goaded by the activism of Frederick Douglass and many others, tried at various turns to sustain their new rights. But the terror unleashed by white paramilitary groups in the former Confederacy, combined with deteriorating economic conditions and a loss of Northern will, restored "home rule" to the South. The retreat from Reconstruction was followed by one of the most violent periods in our history, with thousands of black people murdered or lynched and many more afflicted by the degrading impositions of Jim Crow segregation. An essential tour through one of America's fundamental historical tragedies, Stony the Road is also a story of heroic resistance, as figures such as W. E. B. Du Bois and Ida B. Wells fought to create a counter-narrative, and culture, inside the lion's mouth. As sobering as this tale is, it also has within it the inspiration that comes with encountering the hopes our ancestors advanced against the longest odds.
The black man suffering at the hands of whites, the white woman sexually threatened by the black man. Both images have long been burned into the American conscience through popular entertainment, and today they exert a powerful and disturbing influence on Americans' understanding of race. So argues Linda Williams in this boldly inquisitive book, where she probes the bitterly divisive racial sentiments aroused by such recent events as O. J. Simpson's criminal trial. Williams, the author of Hard Core, explores how these images took root, beginning with melodramatic theater, where suffering characters acquire virtue through victimization. The racial sympathies and hostilities that surfaced during the trial of the police in the beating of Rodney King and in the O. J. Simpson murder trial are grounded in the melodramatic forms of Uncle Tom's Cabin and The Birth of a Nation. Williams finds that Stowe's beaten black man and Griffith's endangered white woman appear repeatedly throughout popular entertainment, promoting interracial understanding at one moment, interracial hate at another. The black and white racial melodrama has galvanized emotions and fueled the importance of new media forms, such as serious, "integrated" musicals of stage and film, including The Jazz Singer and Show Boat. It also helped create a major event out of the movie Gone With the Wind, while enabling television to assume new moral purpose with the broadcast of Roots. Williams demonstrates how such developments converged to make the televised race trial a form of national entertainment. When prosecutor Christopher Darden accused Simpson's defense team of "playing the race card," which ultimately trumped his own team's gender card, he feared that the jury's sympathy for a targeted black man would be at the expense of the abused white wife. The jury's verdict, Williams concludes, was determined not so much by facts as by the cultural forces of racial melodrama long in the making. Revealing melodrama to be a key element in American culture, Williams argues that the race images it has promoted are deeply ingrained in our minds and that there can be no honest discussion about race until Americans recognize this predicament.
One of today's most controversial African-American authors presents his hilariously acidic interpretations of 1970's black films like Shaft and Superfly and the hip-hop culture, fashion, and music they inspired. Includes interviews with luminaries such as Melvin Van Peebles and Pam Grier, movie stills and a few filthy comics.
A glimpse into the diverse stories of Black Jews in the United States What makes a Jew? This book traces the history of Jews of African descent in America and the counter-narratives they have put forward as they stake their claims to Jewishness. The Soul of Judaism offers the first exploration of the full diversity of Black Jews, including bi-racial Jews of both matrilineal and patrilineal descent; adoptees; black converts to Judaism; and Black Hebrews and Israelites, who trace their Jewish roots to Africa and challenge the dominant western paradigm of Jews as white and of European descent. Blending historical analysis and oral history, Haynes showcases the lives of Black Jews within the Orthodox, Conservative, Reconstruction and Reform movements, as well as the religious approaches that push the boundaries of the common forms of Judaism we know today. He illuminates how in the quest to claim whiteness, American Jews of European descent gained the freedom to express their identity fluidly while African Americans have continued to be seen as a fixed racial group. This book demonstrates that racial ascription has been shaping Jewish selfhood for centuries. Pushing us to reassess the boundaries between race and ethnicity, it offers insight into how Black Jewish individuals strive to assert their dual identities and find acceptance within their respective communities. Putting to rest the simplistic notion that Jews are white and that Black Jews are therefore a contradiction, the volume argues that we can no longer pigeonhole Black Hebrews and Israelites as exotic, militant, and nationalistic sects outside the boundaries of mainstream Jewish thought and community life. The volume spurs us to consider the significance of the growing population of self-identified Black Jews and its implications for the future of American Jewry.
Frantz Fanon may be most known for his more obviously political writings, but in the first instance, he was a clinician, a black Caribbean psychiatrist who had the improbable task of treating disturbed and traumatized North African patients during the wars of decolonization. Investigating and foregrounding the clinical system that Fanon devised in an attempt to intervene against negrophobia and anti-blackness, this book rereads his clinical and political work together, arguing that the two are mutually imbricated. For the first time, Fanon's therapeutic innovations are considered along with his more overtly political and cultural writings to ask how the crises of war affected his practice, informed his politics, and shaped his subsequent ideas. As David Marriott suggests, this combination of the clinical and political involves a psychopolitics that is, by definition, complex, difficult, and perpetually challenging. He details this psychopolitics from two points of view, focusing first on Fanon's sociotherapy, its diagnostic methods and concepts, and second, on Fanon's cultural theory more generally. In our present climate of fear and terror over black presence and the violence to which it gives rise, Whither Fanon? reminds us of Fanon's scandalous actuality and of the continued urgency of his message.
Exploring the interface between the cultural politics of the Black Power and the Black Arts movements and the production of postwar African American popular culture, Amy Ongiri shows how the reliance of Black politics on an oppositional image of African Americans was the formative moment in the construction of "authentic blackness" as a cultural identity. While other books have adopted either a literary approach to the language, poetry, and arts of these movements or a historical analysis of them, Ongiri's captures the cultural and political interconnections of the postwar period by using an interdisciplinary methodology drawn from cinema studies and music theory. She traces the emergence of this Black aesthetic from its origin in the Black Power movement's emphasis on the creation of visual icons and the Black Arts movement's celebration of urban vernacular culture.
Author : Nastassja Martin Publisher : New York Review of Books Page : 129 pages File Size : 51,5 Mb Release : 2021-11-16 Category : Social Science ISBN : 9781681375861
After enduring a vicious bear attack in the Russian Far East's Kamchatka Peninsula, a French anthropologist undergoes a physical and spiritual transformation that forces her to confront the tenuous distinction between animal and human. In the Eye of the Wild begins with an account of the French anthropologist Nastassja Martin’s near fatal run-in with a Kamchatka bear in the mountains of Siberia. Martin’s professional interest is animism; she addresses philosophical questions about the relation of humankind to nature, and in her work she seeks to partake as fully as she can in the lives of the indigenous peoples she studies. Her violent encounter with the bear, however, brings her face-to-face with something entirely beyond her ken—the untamed, the nonhuman, the animal, the wild. In the course of that encounter something in the balance of her world shifts. A change takes place that she must somehow reckon with. Left severely mutilated, dazed with pain, Martin undergoes multiple operations in a provincial Russian hospital, while also being grilled by the secret police. Back in France, she finds herself back on the operating table, a source of new trauma. She realizes that the only thing for her to do is to return to Kamchatka. She must discover what it means to have become, as the Even people call it, medka, a person who is half human, half bear. In the Eye of the Wild is a fascinating, mind-altering book about terror, pain, endurance, and self-transformation, comparable in its intensity of perception and originality of style to J. A. Baker’s classic The Peregrine. Here Nastassja Martin takes us to the farthest limits of human being.
