New Books in African American Studies show

New Books in African American Studies

Summary: Discussions with Scholars of African Americans about their New Books

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  • Artist: New Books Network
  • Copyright: Copyright © New Books Network 2011

Podcasts:

 Susan D. Carle, "Defining the Struggle: National Organizing for Racial Justice, 1880-1915" | File Type: audio/mpeg | Duration: 0:53:06

Susan D. CarleView on Amazon[Cross-posted from New Books in History] Historians tell stories, and stories have beginnings and ends. Most human eras, however, are not so neat. Their beginnings and ends tend to blend into one another. This is why historians are often arguing about when eras–the Roman Empire, the Middle Ages, the Renaissance, etc.–started and stopped. One usually learns very little from these debates, primarily because the established beginnings and endings were agreed upon for good reason. Nothing really big had been missed, so nothing really big has to be changed. But there are exceptions, times when historians discover–or at the very least bring to light–evidence that truly moves the chronological bounds of an era or movement. One such exception is Susan D. Carle's excellent new book Defining the Struggle: National Organizing for Racial Justice, 1880-1915 (Oxford UP, 2013). I will only speak for myself, but I always considered the formation of the NAACP in 1909 to be the beginning of the organized, national effort to fight discrimination against African Americans. Having read Susan's book, I now know that I was wrong. She ably tells the stories of a number of national organizations that pursued the agenda of the NAACP (and, for that matter, the Urban League) decades before the NAACP (and the Urban League) was founded. It would, I think, be a mistake to see Carle's book as a "pre-history" of the organized struggle for racial justice; rather, it is more appropriate to see it as a book about the true beginning of that struggle. Listen in to our fascinating discussion.

 Matthew L. Basso, "Meet Joe Copper: Masculinity and Race on Montana's World War II Home Front" | File Type: audio/mpeg | Duration: 0:52:25

[Cross-posted from New Books in History] In the United States, World War II is now called "The Good War," as opposed to bad ones, I suppose, like Vietnam. Moreover, the Americans who fought in World War II are now called "The Greatest Generation," as opposed to lesser generations, I suppose. Now most of the Americans of "The Greatest Generation" who fought in "The Good War" were men. What made them the "greatest" was that they had proved not only their willingness pro patria mori, but also their masculinity. They were, well, "real men." But what about those American men who, though of "The Greatest Generation," did not actually fight in "The Good War?" There were millions of them. Early in the war Washington designated certain industries essential to the war effort and therefore exempted those who worked in them from the draft. These men "fought" on the Home Front, of course. But they knew very well that fighting on the "Home Front" was not the same as fighting on the actual front. As men of fighting age but not fighting, they were the object of a certain skepticism. "Why," they imagined people asking, "weren't they in uniform?" Maybe they weren't "real men…" In his path-breaking new book Meet Joe Copper: Masculinity and Race on Montana's World War II Home Front (University of Chicago Press, 2013), Matthew L. Basso explores the ways in which American men on the "Home Front" protected their masculinity during the War, and the ways in which those efforts reverberated in the decades that followed it. It's a fascinating story. Listen in.

 Simon P. Newman, "A New World of Labor: The Development of Plantation Slavery in the British Atlantic" | File Type: audio/mpeg | Duration: 0:57:17

[Cross-posted from New Books in American Studies] Ask most educated people about the development of American slavery, and you're likely to hear something about Virginia or, just maybe, South Carolina. In his far-reaching but concise and elegantly written new book A New World of Labor: The Development of Plantation Slavery in the British Atlantic (University of Pennsylvania Press, 2013), Simon Newman takes us to the tiny Caribbean island of Barbados to trace the beginnings of African slavery in British America. The cotton slavery we know from the killing fields of Mississippi and Louisiana can be traced back to the sugar regimen that developed in Barbados. And that slavery, Newman shows, must be understood amidst the larger trajectory of bound labor in England and Scotland, and even in the British forts on Africa's Gold Coast. A New World of Labor shows how the regime of bound servant labor — not the institution of West African slavery — provided the foundation for slavery as it developed in Britain's New World plantation colonies.

 John K. Thornton, "A Cultural History of the Atlantic World, 1250-1820" | File Type: audio/mpeg | Duration: 1:04:45

[Cross-posted from New Books in American Studies] Thanks in no small part to John K. Thornton, professor of history at Boston University, the field of Atlantic history has emerged as one of the most exciting fields of historical research over the past quarter century. Thornton has long insisted that the the age of discovery fostered linkages between the Americas, Europe, and Africa that transformed the diverse peoples of all three regions. Europeans did not simply impose their will upon Africans and Native Americans. A Cultural History of the Atlantic World, 1250-1820 (Cambridge University Press, 2012) showcases Thornton's deep research in the primary source material of multiple nationalities — and languages — to provide the most comprehensive interpretation we have of how the first era of globalization transformed the cultures of all the peoples of the Atlantic basin.

 Matthew W. Hughey, "White Bound: Nationalists, Antiracists, and the Shared Meanings of Race" | File Type: audio/mpeg | Duration: 0:40:34

Whiteness studies has confirmed that race is a social construction, even for whites, and that the identity we understand as white is also a social invention. Those who benefit from this invention accrue privileges that others either must pay dearly to obtain or cannot have at all. But there are those who are willing to give up this privilege in the name of equality (white anti-racists) and those who ask 'Why should we have to?' (white nationalists). Of course this summary is a reduction. To get a fuller, more meaningful account of what drives anti-racists and white nationalists read Matthew W. Hughey's insightfully written book White Bound: Nationalists, Antiracists, and the Shared Meanings of Race (Stanford University Press, 2012). In it, he reveals that both groups appeal to many of the same discourses on race and also share some of the same underlying narratives. If both groups then ascribe to the same stories and beliefs, what's the difference between the two and how can anti-racists help the struggle for civil rights and fight against discrimination if they hold white nationalist ideologies? And how can white nationalist serve the interests of white supremacy if they share liberal views? Or is it more complex? To find out listen to this lively exchange.

 Carmen Kynard, "Vernacular Insurrections: Race, Black Protest, and the New Century in Composition-Literacies Studies" | File Type: audio/mpeg | Duration: 0:56:37

You know you are not going to get the same old story about progressive literacies and education from Carmen Kynard, who ends the introduction to her book with a saying from her grandmother: “Whenever someone did something that seemed contradictory enough to make them untrustworthy, my grandmother simply called it runnin' with the rabbits but huntin' with the dogs.” Kynard persuasively illustrates throughout her book the extent to which progressive and liberal educationalists hold up progress toward truly liberatory education for African Americans and Latinos because they seek to please both rabbits and dogs in the 21st Century. In her own words, Kynard begins with this critique: “American schools and universities, through their scholarship and instructional designs, have often upheld a racial status quo alongside a rhetoric of dismantling it. These [are] not the workings of contradictory and confused individuals merely locked within their space and time. My grandmother understood that such contradictions happen inside of a totemic system. And once she pointed out that someone or something was runnin with the rabbits and huntin with the dogs, the expectation was that I would question the process and work to achieve an alternative awareness, ideological approach, and set of cultural practices” (19). Kynard is not taking the easy road. She looking calling out the racial double-tongue that characterizes the current educational discourse on cultural relevant teaching and learning. This is why a book such as this, which traces the histories, legacies, and influences of black protest movements (mostly student lead) on education and literacy is a must read now. Please listen in as I discuss this book with Kynard.

 Keith Clark, "The Radical Fiction of Ann Petry" | File Type: audio/mpeg | Duration: 0:43:22

What do you do if you accompany a friend on her research trip to Boston University’s Gotlieb Archival Research Center and end up finding a treasure trove of letters, news articles, hand written notes, and original drafts of nonfiction by one of your favorite authors? Keith Clark wrote a book. A truly insightful and wonderful one on the known but understudied Ann Petry. The title? The Radical Fiction of Ann Petry (Louisiana State University Press, 2013). Those familiar with the work of Petry probably know her mid-century, naturalist novel The Street and probably place among the likes of Richard Wright. However, Clark expands our notion of Petry’s work, takes us on a journey that shows her work within other traditions, such as gothic, modernism and realism. He also shows her as a politically active figure, even writing letters to presidents. This book is a must read for any interested in any of the topics Clark undertakes, since he handles each with care, deft, and discernment. He’s equally loquacious and informative during our interview. Please, listen in.

 Alexis Wilson, "Not So Black and White " | File Type: audio/mpeg | Duration: 0:32:02

[Cross-posted from New Books in Dance] When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson’s works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.)  A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and contributions to dance at home and abroad.  I am thrilled that his daughter, Alexis Wilson, has stepped up and out to ensure that her father’s legacy survives, all while sharing her own voice and lived experiences with deep integrity. Alexis Wilson’s touching and deeply personal book Not So Black and White (Tree Spirit Publishing, 2012) goes well beyond the commonly known information about her father’s life and work to reveal her experience growing up as the daughter of this dance genius. This book is her memoir, which is at once both a loving homage to her father, a meditation on her life as the biracial daughter of Wilson and a Dutch ballerina (Sonja van Beers) and a narrative that strives for reconciliation of the contradictions that shaped Alexis’s life. Abandoned by her mother at the age of 11, moving through the worlds of ballet and Broadway and navigating her life journey with her father and his chosen life partner (Chip Garnett) are just a taste of what shaped Alexis’s experiences. An accomplished dancer, author, mother and more, Alexis Wilson does what she did not have to do in this book: she pours herself onto the page so that others might have a lens through which to know who her father was beyond the footlights and a look at how race, class, art, love and pain intertwine to create a stunning portrait of her life. This work is at once deeply personal and relevant to the history of 20th century American dance. With a foreword by actor Blair Underwood, Not So Black and White is not to be missed. Today, Alexis Wilson makes her home in Columbus, OH with her two daughters and her husband, Byron.

 Amrita Chakrabarti Myers, "Forging Freedom: Black Women and the Pursuit of Liberty in Antebellum Charleston" | File Type: audio/mpeg | Duration: 0:53:39

How were black women manumitted in the Old South, and how did they live their lives in freedom before the Civil War?  Historian, Amrita Chakrabarti Myers (Associate Professor in the Department of History at Indiana University in Bloomington) answers this complex question by explaining the precarious nature freedom for African American women in Charleston before the Civil War in Forging Freedom: Black Women and the Pursuit of Liberty in Antebellum Charleston (UNC Press, 2011).  In three tightly woven sections, she tells stories that reveal  what it meant to glimpse, build and experience freedom from the early national period to the end of the antebellum era.  Her beautifully written prose, coupled with thorough research to understand black women's experiences in antebellum Charleston, makes her work an important contribution to the historical literature.  Furthermore, her book has been awarded several prizes, namely the Julia Cherry Spruill Prize  (2012) from the Southern Association of Women Historians, the George C. Rogers Jr. Award (2011) from the South Carolina Historical Society, and the Anna Julia Cooper – CLR James Book Award (2011) from the National Council for Black Studies.

 Andreá Williams, "Dividing Lines: Social Class Anxiety and Postbellum Black Fiction" | File Type: audio/mpeg | Duration: 0:46:44

Andreá Williams' provocative new book on African American class divisions in Post-Reconstruction and Jim Crow America is sure to spark spirited debate among those interested in how the interplay of economic status and racial identity influence what has been called “the black experience.” Her insightful book is called Dividing Lines: Social Class Anxiety and Postbellum Black Fiction (University of Michigan, 2013). Specifically, the book examines how late-nineteenth-century black authors represent intra-racial stratification and class mobility. Analyzing works by such authors as Frances Harper, Sutton Griggs, Paul L. Dunbar, and Charles Chesnutt, Williams casts doubt on the now two-easy distinction between sell out and black nationalist when it comes to class ascension as she historicizes the moment when blacks were seeking to compete in the mainstream. Her look at representations of class at the turn of the 20th Century is fresh and illuminating. Please, listen in to the discussion.

 Steven Roby and Brad Schreiber, "Becoming Jimi Hendrix: From Southern Crossroads to Psychedelic London, the Untold Story of a Musical Genius" | File Type: audio/mpeg | Duration: 0:26:15

[Cross-posted from New Books in Pop Music] After his incendiary performance at the 1967 Monterey International Pop Festival, Jimi Hendrix almost immediately went from obscure musician to pop superstar in America. But as Steven Roby and Brad Schreiber reveal in Becoming Jimi Hendrix: From Southern Crossroads to Psychedelic London, the Untold Story of a Musical Genius, Hendrix was far from an overnight sensation. Drawing on an impressive research base, the authors have unearthed the early 1960s prehistory of Hendrix’s well-known but all-too-short life in the spotlight. They show that before his artistic and cultural breakthrough Hendrix had worked as a guitar-playing sideman for some of the biggest R & B acts of the 1960s, including Ike and Tina Turner, the Isley Brothers, and the incomparable Little Richard. In doing so, they paint a vivid and compelling portrait of a massively influential musician whose genius did not suddenly emerge after he formed the Jimi Hendrix Experience in 1966, but rather evolved during endless nights of gigging in backwater juke joints and dive bars from Nashville to New York City. Steven Roby is a San Francisco-based photographer and the author of three books on the life and legacy of Jimi Hendrix: Black Gold: The Lost Archives of Jimi Hendrix, Becoming Jimi Hendrix: From Southern Crossroads to Psychedelic London, the Untold Story of a Musical Genius, and his latest, Hendrix on Hendrix: Interviews and Encounters with Jimi Hendrix. He can be reached through his blog.

 Yuval Taylor and Jake Austen, "Darkest America: Black Minstrelsy from Slavery to Hip-Hop" | File Type: audio/mpeg | Duration: 0:52:32

The moral arguments in defense of slavery hinged on the claim that it was the best arrangement for all parties involved, especially the slaves. Thomas Jefferson, for example, argued that the differences between black slaves and white masters were 'fixed in nature', with blacks being condemned to an existence driven more by 'sensation than reflection', thus making them incapable of comprehending the full weight of their predicament, let alone improving it. Freedom, according to John C. Calhoun, was the enemy of the black slave and would condemn him or her to the miserable life of a 'pauper in the poor house', rather than the 'superintending' care of masters and mistresses. When Jefferson returned from long trips, according to some biographers, he would have to wade through a throng of slaves eager to touch him, to thank him, to celebrate their master's return. The minstrel, to many African Americans, is the physical embodiment of these arguments: the word made flesh. The minstrel stalks our collective imaginations like a grinning, groveling, hand-clapping, toe-tapping Freddie Krueger. He leaps out just when we let our guards down and turns dignified moments into disgraceful debacles. He transforms the Academy Award Ceremony into a tribute to the trials and tribulations of pimps. He turns televisions shows about the plight of the poor in the inner city into buck-eyed dyno-mite (!!!!) joke fests. He morphs news stories into youtube songs and memes – bedroom intruders, AK-47 fried chicken disputes, Jordan sneaker riots. Somewhere the minstrel lies in wait, ready to leap back into the hearts and minds of the American public at the expense of those of us who demand dignity and respect, but as with all things American the story of the minstrel is more complex. In Darkest America: Black Minstrelsy from Slavery to Hip-Hop (W.W. Norton, 2012), Yuval Taylor and Jake Austen explore the minstrel tradition and put it in its proper context. While many of us may have used the label to attack particular artists or actions (see above), Taylor and Austen dissect it as a creature of American art, commerce, and racism that occasionally created opportunities for advancement – even for those who wore the mask. Yuval Taylor was kind enough to speak with me. I hope you enjoy.

 Vladimir Alexandrov, "The Black Russian" | File Type: audio/mpeg | Duration: 0:54:58

Vladimir Alexandrov's new book The Black Russian (Atlantic Monthly Press, 2013) tells the epic and often tragic story of Fredrick Bruce Thomas, an African American born to recently freed slaves, who would go on to make a fortune in Russia as a club owner and entrepreneur. Mr. Thomas was a pioneer in many respects. He migrated North in search of opportunity decades before the Great Migration. He fled the states in pursuit of greater prospects in Europe before it was fashionable for blacks to do so. He confronted and combated many of the forces that would shape the 20th century – racism, classism, and nativism – yet his story was little known to us until now.

 Peter Benjaminson, "Mary Wells: The Tumultuous Life of Motown’s First Superstar" | File Type: audio/mpeg | Duration: 1:03:54

[Cross-posted from New Books in Pop Music] Who is Motown’s first real star? The answer, of course, is Mary Wells, singer of such classics as “My Guy,” “Bye Bye Baby,” “The One Who Really Loves You,” “You Beat Me to the Punch,” and “Two Lovers,” among others. All of these hits were released in just four years between 1960 and 1969. In Mary Wells: The Tumultuous Life of Motown’s First Superstar (Chicago Review Press, 2012) author Peter Benjaminson chronicles the life of this singular performer from her early days as a young rock ‘n’ roll diva to her last years struggling with cancer. Along the way we learn that Wells was a tireless performer. She never stopped touring, never stopped reaching for the brass ring of financial success that eluded her for much of her career. It seems she never did receive the money she felt she deserved for the songs she released for Motown, while the record company appeared to rake in a handsome profit. She left Motown in 1964, released records with a number of different labels over the next twenty-six years, and finally received a paltry $100,000 from a law suit she filed against Motown in the late eighties. Whatever the case, Benjaminson shows well how Mary Wells star still shines bright. Her songs are known by most everyone, they are ingrained in the American popular psyche. Peter Benjaminson is the author of The Lost Supreme: The Life of Dreamgirl Florence Ballard, The Story of Motown, and co-author of Investigative Reporting. He has written numerous articles for the Detroit Free Press and Atlanta Journal-Constitution among others.

 Michael P. Jeffries, "Paint the White House Black" | File Type: audio/mpeg | Duration: 0:25:05

[Cross-posted from New Books in Political Science] Over the last year, this podcast has featured several authors who’ve examined the presidency of Barack Obama. John Sides, Daniel Kriess, and Enid Logan each wrote about the election campaign of the President. Michael P. Jeffries steps back and places the President into a larger theoretical conversation about race and language. Jeffries is an Assistant Professor of American Studies at Welleseley College and also writes for The Atlantic magazine and The Guardian newspaper. He is the author of Paint the White House Black: Barack Obama and the Meaning of Race in America (Stanford University Press, 2013) and published his first book, Thug Life: Race, Gender, and the Meaning of Hip-Hop in 2011. Jeffries peels back the debate over exactly “post-racial” life in America really is in 2013. Using the presidency of Barack Obama as a focal point, he draws from sociology, feminist theory, and political science to situate the president in long-standing debates about the state of race in America. The book is provocative, timely, and an enjoyable read

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