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Historian Scott Reynolds Nelson recounts how he came to discover the real John Henry, an African-American railroad worker who became a legend in the famous song.
Retells the life of the legendary steel driver of early railroad days who challenged the steam hammer to a steel driving contest.
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.
This sizzling revue of the blues and blues infused songs that changed the way the world hears the human heartbeat took New York by storm. Ravishing songs trace the evolution of the blues from Africa to Mississippi to Memphis to Chicago.
The life of a 13-year-old Harlem black boy, on his way to becoming a confirmed heroin addict, is seen from his viewpoint and from that of several people around him.
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.
Benjie can stop using heroin anytime he wants to. He just doesn't want to yet. Why would he want to give up something that makes him feel so good, so relaxed, so tuned-out? As Benjie sees it, there's nothing much to tune in for. School is a waste of time, and home life isn't much better. All Benjie wants is for someone to believe in him, for someone to believe that he's more than a thirteen-year-old junkie. Told from the perspectives of the people in his life-including his mother, stepfather, teachers, drug dealer, and best friend-this powerful story will draw you into Benjie's troubled world and force you to confront the uncertainty of his future.
EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.
From Ishmael Reed and Toni Morrison to Colson Whitehead and Terry McMillan, Darryl Dickson-Carr offers a definitive guide to contemporary African American literature. This volume-the only reference work devoted exclusively to African American fiction of the last thirty-five years-presents a wealth of factual and interpretive information about the major authors, texts, movements, and ideas that have shaped contemporary African American fiction. In more than 160 concise entries, arranged alphabetically, Dickson-Carr discusses the careers, works, and critical receptions of Alice Walker, Gloria Naylor, Jamaica Kincaid, Charles Johnson, John Edgar Wideman, Leon Forrest, as well as other prominent and lesser-known authors. Each entry presents ways of reading the author's works, identifies key themes and influences, assesses the writer's overarching significance, and includes sources for further research. Dickson-Carr addresses the influence of a variety of literary movements, critical theories, and publishers of African American work. Topics discussed include the Black Arts Movement, African American postmodernism, feminism, and the influence of hip-hop, the blues, and jazz on African American novelists. In tracing these developments, Dickson-Carr examines the multitude of ways authors have portrayed the diverse experiences of African Americans. The Columbia Guide to Contemporary African American Fiction situates African American fiction in the social, political, and cultural contexts of post-Civil Rights era America: the drug epidemics of the 1980s and 1990s and the concomitant "war on drugs," the legacy of the Civil Rights Movement, the struggle for gay rights, feminism, the rise of HIV/AIDS, and racism's continuing effects on African American communities. Dickson-Carr also discusses the debates and controversies regarding the role of literature in African American life. The volume concludes with an extensive annotated bibliography of African American fiction and criticism.