New Books In African American Studies

In the preface to this book, Keith Gilyard describes his career as 30 years of roaming the areas of rhetoric, composition, sociolinguistics, creative writing, applied linguistics, education theory, literary study, history, and African American studies. That gives some impression of the range of topics covered in this compilation of selected highlights of his work, including several brand new contributions. He goes on to affirm that he is “not great in any of these fields”, but on this evidence he is being too modest. True to the Language Game: African American Discourse, Cultural Politics, and Pedagogy (Routledge, 2011) is an engaging, entertaining and challenging book. Moving from the author’s ‘disciplinary birth’ as a teacher of composition, through an overview of some of the language controversies in the US classroom, to his recent work in literary history, it serves as an introduction not only to Gilyard’s research and ideas but to those of many other educational, cultural and literary theorists. In thi

Jerald Walker‘s critical autobiography, Street Shadows: A Memoir of Race, Rebellion, and Redemption (Bantam, 2010), is a sheer pleasure to read. A book-length series of vignettes, reflections that alternate between his present life (he’s currently an English professor at Emerson College) and his life as a wannabe thug and habitual drug user on the streets of Chicago, Walker ponders thorny questions of racial identity in such chapters as “Orientation,” where he decides it’s better to identify with other writers (who happen to be white) than with fellow blacks. However, Walker isn’t always this decisive. Indeed the book is filled with stony ambivalence. But the beauty of Walker’s writing is that he uses sharp, searing prose not to probe but to crack ambivalence in the face and ape its gory middle. Although he ends up at times sounding just like the black neo-conservative Shelby Steele, Walker is much more complicated–since he also sounds sometimes like the black radical, Al Sharpton! Ultimately treating such s

When she emerged triumphant in a legal battle with the Texas beef industry, Oprah Winfrey took to the steps of the Amarillo court house and declared: “Free speech rocks!” She was likely a little less enthusiastic about the First Amendment following the publication of Kitty Kelley‘s unauthorized book Oprah: A Biography, which is now out in paperback. The match-up of the daytime television queen and the unauthorized biographer, Kitty Kelley, is one for the ages. The author of eight books– five of them New York Times number one bestsellers, all of them about living people and none of them authorized– Kelley has spent thirty years writing unflinchingly candid accounts of the most influential celebrities of our age. Even the New Yorker allowed that “A Kitty Kelley biography of Oprah Winfrey is one of those King Kong vs. Godzilla events in celebrity culture.” With the help of over 800 interviews and four years of research, she provides an insightful analysis of Winfrey’s cultural significance, as an African-Amer

Daniel Sharfstein‘s The Invisible Line: Three American Families and the Secret Journey from Black to White (Penguin Press, 2011) is the latest and perhaps best book in the growing genre of neo-passing narratives. The Invisible Line easily rests between Philip Roth’s The Human Stain and Blis Broyard’s One Drop, though it is different and in ways richer than both. Part American history, part legal analysis (Sharfstein is a legal scholar), part ethnographic study, it is a wholly gripping and exquisitely written narrative that tracks the racial passing of three black families over several centuries, leading us right up to their living “white” descendents today. You will certainly learn a lot about the history of race in the United States from The Invisible Line and, if you’re like me, you won’t be able to put it down. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Hip-hop has, within a short time span, moved from a free-flowing expression of urban youth to a global–and highly marketable–musical genre. Its influence in culture, fashion, film, and music is ubiquitous, and theories about hip-hop’s importance in the political sphere abound. But what, exactly, is the relationship between hip-hop and politics? Does hip-hop influence the expression and formation of political thought? Does it influence the expression and formation of political action? If the influence exists, what are its boundaries? These are some of the questions tackled in Stare in the Darkness: The Limits of Hip-Hop and Black Politics by Lester K. Spence. Spence traces the concurrent neoliberal turn in hip-hop and American politics and examines the implications of both for the politics of black Americans. He infuses the narrative of neoliberal transformation with empirical examination of hip-hop’s impact on the political attitudes of the hip-hop generation and of urban youth. Analyzing track lyrics, survey

In his new book, The Agony of Masculinity: Race, Gender, and Education in the Age of the “New” Racism and Patriarchy (Peter Lang, 2010), Pierre Orelus analyzes the “heartfelt stories of fifty men of African descent who vary in age, social class, family status, sexual orientation, ethnicity, nationality, and ability” (1). One of the purposes of the book is to allow black men to share how they both perpetuate and are negatively impacted by heteronormativity, that is, the oppression of women and other men on the basis of how well they perform heterosexuality. During my interview with Pierre, I was surprised that he labeled some of the men as closeted bisexuals and homosexuals simply because they did not disclose their sexualities to him. This was surprising since the book itself seeks to undo heteronormativity, which enforces the requirement to announce a heterosexual identity. This announcement is made both by how a man performs his masculinity, and in his actual sex life. Since the bedroom is private (we don’

There are beautiful sports photos, and dramatic sports photos. There are sports photos that are funny, and others that are poignant. There are photos that capture athletic brilliance, and tenacity, and passion. But there are few images from the modern history of sports that have transcended the games, photos that have inspired and provoked those with little interest in athletics. Perhaps the only image to have had such a far-reaching effect is that of Tommie Smith and John Carlos on the medal stand at the 1968 Mexico City Olympics. But some would object–and many did in 1968–that what Smith and Carlos did on the medal stand after the 200-meter finals was not a sports moment. It was a political moment, a protest, and therefore it was outside the boundary of athletics. Smith and Carlos had violated a fundamental principle of sport by mixing it with politics. But those who made that criticism in 1968 likely did not denounce George Foreman ten days later, when he waved the American flag in the ring after winning

In his new bookActing White: The Curious History of a Racial Slur (Thomas Dunne Books, 2010), former White House aide Ron Christie recounts the history of the pejorative term “acting white.” He traces its lineage from the present day through the Black Power movement back to Uncle Tom’s Cabin, unraveling a fascinating history in the process. In our interview, we talked about Ron’s experiences as an African-American Republican, his ambitious vow to eradicate the term “acting white,” and his hopes for the future of America’s African-American community. Read all about it, and more, in Christie’s thought-provoking new book. Please become a fan of “New Books in Public Policy” on Facebook, if you haven’t already. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

With the NBA in the midst of a labor disagreement, players from the world’s premier basketball league are scattering in different directions to maintain their skills (and get paid). This past summer, a number of NBA players returned to their roots, so to speak, by playing in summer leagues in places like DC, LA, New York, and Baltimore. For many black players who grew up in big cities, summer leagues were the place where they first learned basketball, under the watchful eyes of older men who had also played the game–and made names for themselves–on the same courts. Scott Brooks spent four years coaching youth basketball in one of these leagues in South Philadelphia, bringing the perspective of a sociologist to this institution of inner-city neighborhoods. The book based on his experiences and his research, Black Men Can’t Shoot (University of Chicago Press, 2009), follows two of the league’s young players, Jermaine and Ray, as they learn the game, develop their skills, and work to “get known” in the world of

When I was an undergraduate, I noticed that there were certain books that seemed to be unavoidable (at least at my liberal arts college). They were assigned in many classes, and they were discussed in many others. Reading them seemed to be a secret requirement for graduation. These “liberal-arts essentials” included Plato’s Republic, Rousseau’s Social Contract, Lockes’ Two Treatises on Government (especially the second), Kant’s Prolegomena to Any Future Metaphysics, Marx and Engels’ The Communist Manifesto, Freud’s Civilization and its Discontents, and John Bergers’ Ways of Seeing. Another was William Sheridan Allen’s The Nazi Seizure of Power: The Experience of a Single German Town, 1922-1945 (Quadrangle Books, 1965). It explained the rise of National Socialism in a new and revealing way: from the bottom up. In Sheridan Allen’s story, the local politicians, shopkeepers, and housewives of Northeim (Hanover) moved to the fore, while Hitler, Goering, and Goebbels remained in the background. Here the locals “m

Is comedian and cultural critic Bill Cosby right–that black youth suffer from a cultural pathology that leads them to commit more crimes than their white counterparts? Is the remedy to the high rate of offending by African American men the “shape up or get shipped out” perspective? Is there more to African American offending than poor parenting or lousy schools? James D. Unnever is the co-author (with Shaun L. Gabbidon) of the new book A Theory of African American Offending: Race, Racism, and Crime (Routledge, 2011). This book builds on the assertion of sociologist and cultural critic W. E. B. Du Bois that theories of African American life, culture, and especially crime must deal with the unique circumstances and worldview of black people living in America. Unnever and Gabbidon take this assertion seriously as they develop a theory that the reading public in general and criminologists and lawyers specifically, indeed all associated with the criminal justice system, should read. I’ve recommended this book to

Miriam Thaggert’s study Images of Black Modernism: Verbal and Visual Strategies of the Harlem Renaissance (University of Massachusetts Press, 2010), is an exceptional contribution to the discussion of both modernism and the the period of intense African American artistic production known as the Harlem Renaissance. Black Modernism is particularly invaluable because it explores the techniques, devices, and politics of blackness as both a cultural and literary concept, even as it examines modernism in the same way. It is a well-written and meticulously researched study. The University of Massachusetts Press’s website explains that “Thaggert identifies and analyzes an early form of black American modernism characterized by a heightened level of experimentation with visual and verbal techniques for narrating and representing blackness. The work of the writers and artists under discussion reflects the creative tension between the intangibility of some forms of black expression, such as spirituals, and the materia

If a mother raises her biologically male child as a daughter instead of a son, what would be the effects on the family, the community, the church? Indeed what would be the psychosocial, psychoemotional effects on the daughter once she discovers she’s a “he”? And what would all this reveal about the mother? What’s more, would the male-daughter’s brothers, father, friends come to agree with gender philosopher Judith Butler and accept the prevailing academic wisdom that gender and sex are social constructions, discourses that inform how we perform our lives? Or would they agree with some conservative Christian groups that a boy is a son. That’s how God made him, and that’s that! End of story. And what if the male-daughter is African American? What would race reveal about the social dynamics of gender in America? Novelist Daniel Black deftly explores the above questions and so much more in his lyrical new novel Perfect Peace (St. Martin’s Press, 2010). Not to give too much away, but Perfect is the name of the

It takes a brave historian to take on the orthodoxy regarding the rise and fall of lynching in the United States. That orthodoxy holds that lynching in the South was a ‘system of social control’ in which whites used organized terror to oppress blacks. You can find this thesis in numerous monographs, textbooks, and in the popular press. It’s one of those things “everybody knows.” But according to Robert Thurston’s provocative new book Lynching: American Mob Murder in Global Perspective (Ashgate, 2011) the standard ‘social control’ line is inadequate. It cannot explain when lynching started or when it ended; why lynching occurred in some places often and others never; and why the period in question witnessed a considerable amount of intra-racial lynching. The ‘social control’ thesis fails because it tries to put a square peg (the evidence) in a round hole (the concept of systematic oppression through terror). Thurston shows that lynching, though hardly accidental, was simply too occasional and too random to b

In his new book Betrayal: How Black Intellectuals Have Abandoned the Ideals of the Civil Rights Era (Columbia University Press, 2008), Houston A. Baker makes the argument that many contemporary black public intellectuals, otherwise known as African American “academostars,” are self-serving individuals who distort the message of Dr. Martin Luther King, Jr. and belie the overall aims of the Civil Rights movement of the 1950’s and 60’s. He calls out five main figures: Shelby Steele, John McWhorter, Henry Louis Gates, Jr., and even Cornel West and Michael Eric Dyson. Betrayal has been described both as a “brave and funny vernacular broadside” and “an important and absorbing meditation” on contemporary discussions of American politics. This book is immensely important not only for the way it clarifies the often misconstrued and misapplied rhetoric of Dr. King, but also the way in which it takes pains to historicize the plight of African Americans. I am personally persuaded by this book, and I highly recommend i

Frank Dobson, Jr.‘s Rendered Invisible: Stories of Blacks and Whites, Love and Death (Plain View Press, 2010) is a single-authored collection of fiction. It includes the opening, gripping novella “Rendered Invisible,” which gives the book its title. That’s followed by five notable short stories: “Black Messiahs Die,” about a black college basketball player who is murdered by police officers; “Homeless M.F,” about a homeless, ex-convict who is picked up by a rich woman for sex; “Junior Ain’t,” which features a fatherless boy who is antagonized by his wealthier, two-parent cousins; “Another Continent,” a study of unrequited love between professors; and “It Falls between,” a meditation on white racial anxiety and its affect on a working class black man. The stories are nice complements to the opening “Rendered,” the fictionalized account of the factual serial killing of black men in 1980 in Buffalo, New York. Dobson discussed his book, black life, the role of literature in society, and why he loves his job as a

Deborah Whaley’s new book Disciplining Women: Alpha Kappa Alpha, Black Counterpublics, and the Cultural Politics of Black Sororities (SUNY Press, 2010) may be the first full-length study of a Black Greek-Letter Organization (BGLO) written by a non-BGLO member. But that’s not the only reason to read her book. Whaley takes an interdisciplinary approach to the study, which includes a personal rumination on her family’s relation to BGLO’s, interviews with sorority sisters, ethnographic participant observations, and literary and film analyses. Her foray into popular black culture is enriched by deep critical engagement with such texts as Spike Lee’s canonical film “School Daze” and the recent cinematic representation of Black Greek life “Stomp the Yard.” Whaley takes her subject matter seriously, but not so much so that her book lacks wit and charm. Indeed, her prose is just as pleasant, inviting, and engaging as she is in the interview. Check it out. Learn more about your ad choices. Visit megaphone.fm/adchoic

UPDATE: Nikky Finney’s Head Off and Split has been named a finalist for a National Book Award. Congratulations, Nikky, from the folks at New Books in African American Studies and the New Books Network!) Poet Nikky Finney’s new book Head Off & Split (TriQuarterly Books/Northwestern University Press, 2011) has made an immediate splash, receiving well-deserved critical acclaim from the literary world and wide attention from the reading public. Although her book has only been out a few months, it has already been widely reviewed, with Finney featured on the cover of the prestigious literary journal Poets and Writers. Finney is among the who’s who of writers, a poet about whom Nikki Giovanni says, “We all, especially now, need.” And yet Finney is unpretentious, caring, and inspirational. All this is illustrated in her interview for New Books in African American Studies, where she discusses the autobiographical impulse behind the book’s title, pays homage to black womanhood, worries about black boys, and she

With the election of Barack Obama, the first U.S. president of African descent, many people believed that America had ushered in an era of post-racial harmony. Harvey Young is not one of them. When it comes to the racial experience of black people, particularly, though not exclusively, of black men, Young takes James Baldwin’s sage advice: “Take no one’s word for anything, including mine–but trust your experience.” I interviewed Young about his new book Embodying Black Experience: Stillness, Critical Memory, and the Black Body (University of Michigan Press, 2010). In it, Harvey examines five “spectacular events,” including an opening autobiographical one, that persuasively reveal his argument “that embodied experiences develop, in part, from racial (mis)recognition and spotlight how an idea of the black body materially affects actual bodies” (11). In other words, Young points out how despite the multifarious identities that constitute what we know as the “African American” identity (i.e., it ain’t monolithic

When I arrived at college in the early 1980s, drugs were cool, music was cool, and drug-music was especially cool. The coolest of the cool drug-music bands was The Velvet Underground. They were from the mean streets of New York City (The Doors were from the soft parade of L.A….); they hung out with Andy Warhol (The Beatles hung out with Maharishi Mahesh Yogi…); they had a female drummer (The Grateful Dead had two drummers, but that still didn’t help…); and, of course, they did heroin. Or at least they wrote a famous song about it. We did not do heroin, but we thought that those who did–like Lou Reed and the rest–were hipper than hip. I imagine we would have done it if there had been any around (thank God for small favors). We thought we had discovered something new. But as Eric C. Schneider points out in his marvelous Smack: Heroin and the American City (University of Pennsylvania Press, 2008), the conjunction of music, heroin, and cool was hardly an invention of my generation. The three came together in the