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A young woman burdened with the legacy of her family plays the unwitting puppet of a malevolent guardian. While friends, family, and her lover are all oblivious to the puppet master's influence, they, too, are subservient to its will. Enemies plot her demise. Law enforcement hunts her. Her family deceives her while her people, seduced by the promise of change, test her resolve with trickery. Only a miracle can save her. And he, too, wants to kill her.
This is Volume II of two volumes. American Silhouettes is primarily a study in human character in its dealing with the adversity of life. The setting is America during the last quarter of the twentieth century. More specifically it focuses on the struggle of two generations of a small African American family whose destiny encounters more than its share of horrific tribulations. It is a window on life, love, happiness, suffering, and death of the members of this small vulnerable resilient family from the South, that moves to Washington, D.C. for a better life, only to find a very short interlude of happiness, followed by a deep plunge into another cycle of trauma and despair; not death though, that would be too easy; and when death finally does come, it is a liberation of the body and soul. The saga continues with the cycle of misfortune repeating itself in a new age, a new generation with the same finality as if their destiny had been wickedly predefined. From Bridgeville SC to Washington DC, and from Rome to Dakar, their saga brings to light the evil and virtuousness of man in its most natural occurrence, as a part of daily life. The story brings together various individuals of different and sometimes opposite background and describes either the passions of their encounters or the clashes resulting from their conflicts. It analyses the most wonderful passions of love, beauty and happiness, and juxtaposes the horrible ugliness of hate and abuse. It incorporates the duty and responsibility of man within the context of our society and dwells into the aberrations of its marginal sector. It is an interweaved matrix of emotional extremes. It demonstrates that evil has no color, no race, no religion, and that it transcends the social fabric of our society.
The first book to explore how African American writing and art engaged with visions of Ethiopia during the late nineteenth and early twentieth centuries As the only African nation, with the exception of Liberia, to remain independent during the colonization of the continent, Ethiopia has long held significance for and captivated the imaginations of African Americans. In Black Land, Nadia Nurhussein delves into nineteenth- and twentieth-century African American artistic and journalistic depictions of Ethiopia, illuminating the increasing tensions and ironies behind cultural celebrations of an African country asserting itself as an imperial power. Nurhussein navigates texts by Walt Whitman, Paul Laurence Dunbar, Pauline Hopkins, Harry Dean, Langston Hughes, Claude McKay, George Schuyler, and others, alongside images and performances that show the intersection of African America with Ethiopia during historic political shifts. From a description of a notorious 1920 Star Order of Ethiopia flag-burning demonstration in Chicago to a discussion of the Ethiopian emperor Haile Selassie as Time magazine’s Man of the Year for 1935, Nurhussein illuminates the growing complications that modern Ethiopia posed for American writers and activists. American media coverage of the African nation exposed a clear contrast between the Pan-African ideal and the modern reality of Ethiopia as an antidemocratic imperialist state: Did Ethiopia represent the black nation of the future, or one of an inert and static past? Revising current understandings of black transnationalism, Black Land presents a well-rounded exploration of an era when Ethiopia’s presence in African American culture was at its height.