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“If you don’t know my name, you don’t know your own.”—James Baldwin An anthology of African-American literature featuring contributions from some of the most prominent Black and African-American authors of our time, including James Baldwin, Arna Bontemps, Gwendolyn Brooks, W. E. B. Du Bois, Ralph Ellison, Langston Hughes, Leroi Jones, Margaret Walker, Richard Wright, Malcom X, and many more. Featuring fiction, poetry, autobiography, and literary criticism, Black Voices captures the diverse and powerful words of a literary explosion, the ramifications of which can be seen and heard in the works of today’s African-American artists. A comprehensive and impressive primer, this anthology presents some of the greatest and most enduring work born out of the African-American experience in the United States. Contributors Also Include: Sterling A. Brown Charles W. Chesnutt John Henrik Clarke Countee Cullen Frederick Douglass Paul Laurence Dunbar James Weldon Johnson Naomi Long Madgett Paule Marshall Clarence Major Claude McKay Ann Petry Dudley Randall J. Saunders Redding Jean Toomer Darwin T. Turner Lerone Bennett, Jr. Frank London Brown Arthur P. Davis Frank Marshall Davis Owen Dodson Mari Evans Rudolph Fisher Dan Georgakas Robert Hayden Frank Horne Blyden Jackson Lance Jeffers Fenton Johnson George E. Kent Alain Locke Diane Oliver Stanley Sanders Richard G. Stern Sterling Stuckey Melvin B. Tolson
From dusty rural villages to northern ghettos, 12 Million Black Voices is an unflinching portrayal of the lives that many black Americans lived in the 1930s. It is a testament to the strength of black communities throughout America.
‘A timely book and a conversation starter on race in Britain.’ Rachel Edwards, Author of Darling and Lucky ‘A timely book in a year that has made clear that Britain still has a very long way to go towards becoming the model of racial equality it aims to be.’ Kenya Hunt ‘Powerful and sometimes painful testimonies but they also provide uplifting and enriching experiences.’ Stephen Bourne ‘I'm so proud to hold this book in my hand. We are here in all our richness.’ Adjoa Andoh, Actor, Director ‘This book is such a moving read for everyone of all ages and races.’ Colin Jackson, CBE ‘A reinforcement of evocative truths that hurt and sting deeply but also empower tremendously.’ Sharon Duncan-Brewster The whole world is watching. 25 May, 2020. George Floyd, a 46-year-old black man, is killed in Minneapolis while being arrested. His death, witnessed by horrified bystanders, is captured on camera – and within hours has spread far and wide across social media. We’re all bystanders now. The protests that follow express shock, sorrow, and outrage. Because what’s happened, has happened before – away from witnesses and cameras. The story didn’t begin here, and this is not where it ends… STILL BREATHING assembles a cast of 100 black voices to talk about their experiences of racism in Britain. Actresses Suzette Llewellyn (Eastenders) and Suzanne Packer (Holby City) are joined by musicians, Members of Parliament, poets, artists, athletes, civil servants, doctors, lawyers, and more. Touching on Windrush and the workplace, race riots and reforms, these essays seek to educate, to bear witness – and to offer hope for a better future, in Britain and around the world.
This exciting collaboration with the New York Times will reveal the untold stories of the diverse heroines who fought for the 19th amendment. On the 100th anniversary of the historic win for women's rights, it's time to celebrate the names and stories of the women whose courage helped change the fabric of America.
Black Lenses, Black Voices is a provocative look at films directed and written_and sometimes produced_by African Americans, as well as black-oriented films whose directors or screenwriters are not black. Mark Reid shows how certain films dramatize the contemporary African American community as a politically and economically diverse group, vastly different from film representations of the 1960s. Taking us through the development of African American independent filmmaking before and after World War II, he then illustrates the unique nature of African American family, action, horror, female-centered, and independent films, such as Eve's Bayou, Jungle Fever, Shaft, Souls of Sin, Bones, Waiting to Exhale, Monster's Ball, Sankofa, and many more.
In the late 1920s, Reverend A. W. Nix (1880–1949), an African American Baptist minister born in Texas, made fifty-four commercial recordings of his sermons on phonographs in Chicago. On these recordings, Nix presented vocal traditions and styles long associated with the southern, rural Black church as he preached about self-help, racial uplift, thrift, and Christian values. As southerners like Nix fled into cities in the North to escape the rampant racism in the South, they contested whether or not African American vocal styles of singing and preaching that had emerged during the slavery era were appropriate for uplifting the race. Specific vocal characteristics, like those on Nix’s recordings, were linked to the image of the “Old Negro” by many African American leaders who favored adopting Europeanized vocal characteristics and musical repertoires into African American churches in order to uplift the modern “New Negro” citizen. Through interviews with family members, musical analyses of the sounds on Nix’s recordings, and examination of historical documents and relevant scholarship, Terri Brinegar argues that the development of the phonograph in the 1920s afforded preachers like Nix the opportunity to present traditional Black vocal styles of the southern Black church as modern Black voices. These vocal styles also influenced musical styles. The “moaning voice” used by Nix and other ministers was a direct connection to the “blues moan” employed by many blues singers including Blind Willie, Blind Lemon, and Ma Rainey. Both Reverend A. W. Nix and his brother, W. M. Nix, were an influence on the “Father of Gospel Music,” Thomas A. Dorsey. The success of Nix’s recorded sermons demonstrates the enduring values African Americans placed on traditional vocal practices.
Black Power Inc. explores the emergence of a new black elite that sees business and economics as the true base of American power, rather than politics. Instead of mobilizing voters, they are storming boardrooms across the country and establishing themselves in positions of real influence. Now, Fortune magazine writer Cora Daniels, one of the primary chroniclers of this new shift in attitudes, reveals both the professionals who drive it and their motivations for doing so.
The Routledge Reader of African American Rhetoric is a comprehensive compendium of primary texts that is designed for use by students, teachers, and scholars of rhetoric and for the general public interested in the history of African American communication. The volume and its companion website include dialogues, creative works, essays, folklore, music, interviews, news stories, raps, videos, and speeches that are performed or written by African Americans. Both the book as a whole and the various selections in it speak directly to the artistic, cultural, economic, gendered, social, and political condition of African Americans from the enslavement period in America to the present, as well as to the Black Diaspora.
A compelling anthology of Black voices from England, America, Africa and the Caribbean, from people who lived, worked, campaigned and travelled in Britain from the eighteenth to the early twentieth century. Part of the Macmillan Collector’s Library; a series of stunning, clothbound, pocket-sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. Professor Hakim Adi draws on a variety of published works in Black Voices on Britain, all of which describe powerful experiences: James Gronniosaw and his family endure poverty, illness and unemployment; Mary Prince is driven out by her cruel owners and turns to London charities for help; Frederick Douglass, on a lecture tour around Britain, reveals how the Christian clergy built churches with slave-owners’ money; and William Wells Brown gives his impressions of England as he travels around a country which welcomes him more readily than America. These and other voices offer a fascinating and thought-provoking portrayal of Black experiences in Britain.