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The Cracks Between What We Are and What We Are Supposed to Be forms an extended consideration not only of Harryette Mullen’s own work, methods, and interests as a poet, but also of issues of central importance to African American poetry and language, women’s voices, and the future of poetry. Together, these essays and interviews highlight the impulses and influences that drive Mullen’s work as a poet and thinker, and suggest unique possibilities for the future of poetic language and its role as an instrument of identity and power.
First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Fifty-one essays by writers such as Langston Hughes, W.E.B. Du Bois, Ralph Ellison, and Zora Neale Hurston, as well as critics and academics such as Henry Louis Gates, Jr. examine the central texts and arguments in African American literary theory from the 1920s through the present. Contributions are organized chronologically beginning with the rise of a black aesthetic criticism, through the Black Arts Movement, feminism, structuralism and poststructuralism, queer theory, and cultural studies. Annotation copyrighted by Book News Inc., Portland, OR
Chapter by N. Williams separately annotated.
Forms from African and American popular arts, photojournalism, advertising, voodoo and the landscape reflect oral traditions of black culture: rural legends, popular history, Biblical stories, revivalism. No index. Annotation copyrighted by Book News, Inc., Portland, OR
The Republic of Benin in West Africa is home to more than forty ethnic groups, the largest of which is the Fon. In the early seventeenth century, the Fon established a society ruled by a dynasty of kings, who over the years forged the powerful kingdom of Dahomey. In their capital city of Abomey, they built a remarkable complex of palaces that became the center of the kingdom's political, social, and religious life. The palace walls were decorated with colorful low-relief sculptures, or bas-reliefs, which recount legends and battles and glorify the history of the dynasty's reign. Over the centuries, these visual stories have represented and perpetuated the history and myths of the Fon people. The Palace Sculptures of Abomey combines lavish color photographs of the bas-reliefs with a lively history of the Dahomey kingdom, complemented by period drawings, rare historical photographs, and colorful textile art. The book provides a vivid portrait of these exceptional narrative sculptures and the equally remarkable people who crafted them. Also included are a reading of the stories on the walls and details of the four-year collaboration between the Benin Ministry of Culture and Communications and the Getty Conservation Institute to conserve the bas-reliefs of Abomey. Final chapters describe the Historic Museum of Abomey, now housed in the palace complex, and discuss the continuing popularity of bas-reliefs in contemporary West African art.