Right from the start, Bigger Thomas had been headed for jail. It could have been for assault or petty larceny; by chance, it was for murder and rape. Native Son tells the story of this young black man caught in a downward spiral after he kills a young white woman in a brief moment of panic. Set in Chicago in the 1930s, Wright's powerful novel is an unsparing reflection on the poverty and feelings of hopelessness experienced by people in inner cities across the country and of what it means to be black in America.
Introduction / Harold Bloom - Critical Extracts: James Baldwin / Irving Howe / Ralph Ellision / Houston A. Baker, Jr. / Sherley Anne Williams / Charles T. Davis / Nina Kressner Cobb / Henry Louis Gates, Jr. / Charles Johnson -- How "Bigger" Was Born / Richard Wright -- Native Son and Three Kinds of Revolution / Edward Margolies -- Bessie's Blues / Edward A. Watson -- Native Son / Kenneth Kinnamon -- Richard Wright and Native Son: Not Guilty / Dorothy S. Redden -- Bigger Thoms: The Symbolic Negro and the Discrete Human Entity / Charles De Arman -- Native Son and Mass Culture /. Ross Pudaloff -- The Function of Violence in Native Son / Robert James Butler -- Wright's Crime and Punishment / Tony Magistrale -- The Narrative Presence in Native Son / Laura E. Tanner -- Alienation and Creativity in Native Son / Valerie Smith -- Misogyny and Appropriation in Native Son /. Alan W. France.
Investigates a variety of texts in which the self-image of poor, urban black men in the U.S. is formed within, by, and against a culture of racial terror and state violence. In If We Must Die: From Bigger Thomas to Biggie Smalls, author Aimé J. Ellis argues that throughout slavery, the Jim Crow era, and more recently in the proliferation of the prison industrial complex, the violent threat of death has functioned as a coercive disciplinary practice of social control over black men. In this provocative volume, Ellis delves into a variety of literary and cultural texts to consider unlawful and extralegal violence like lynching, mob violence, and "white riots," in addition to state violence such as state-sanctioned execution, the unregulated use of force by police and prison guards, state neglect or inaction, and denial of human and civil rights. Focusing primarily on young black men who are depicted or see themselves as "bad niggers," gangbangers, thugs, social outcasts, high school drop-outs, or prison inmates, Ellis looks at the self-affirming embrace of deathly violence and death—defiance-both imagined and lived-in a diverse body of cultural works. From Richard Wright's literary classic Native Son, Eldridge Cleaver's prison memoir Soul on Ice, and Nathan McCall's autobiography Makes Me Wanna Holler to the hip hop music of Eazy-E, Tupac Shakur, Notorious B.I.G., and D'Angelo, Ellis investigates black men's representational identifications with and attachments to death, violence, and death—defiance as a way of coping with and negotiating late-twentieth and early twenty-first century culture. Distinct from a sociological study of the material conditions that impact urban black life, If We Must Die investigates the many ways that those material conditions and lived experiences profoundly shape black male identity and self-image. African Amerian studies scholars and those interested in race in contemporary American culture will appreciate this thought-provoking volume.
Musician, podcaster and author Marc Wasserman's debut book is an exhaustive, extensive tale of the pioneers of the American Ska and Reggae movement as told by the people who lived it. Three and a half years in the making, the story is lovingly told through hundreds of hours of intense interviews with musicians, artists, managers, club promoters, writers, promoters, and the fans who were there at the dawn of the 80s through the early 90s to witness the birth and spread of a uniquely American version of ska and reggae. From a chance sighting of The Specials on Saturday Night Live in 1980 to the mighty Skavoovee Tour of 1993, Marc collects stories, anecdotes, history, gossip, and (most importantly) the feeling of what it was like to be there as groups of young, ska-crazed acolytes spread their passion and ignited a fiercely loyal dedication to a burgeoning culture. Interviews include members of seminal bands The Untouchables, Bim Skala Bim, The Toasters, The Uptones, The Scofflaws, Let's Go Bowling, Mephiskapheles, and many more! The book also features photos, an essay from Stephen Shafer, and a forward penned by Horace Panter of The Specials.
Now at seventy-three volumes, this popular MLA series (ISSN 10591133) addresses a broad range of literary texts. Each volume surveys teaching aids and critical material and brings together essays that apply a variety of perspectives to teaching the text. Upper-level undergraduate and graduate students, student teachers, education specialists, and teachers in all humanities disciplines will find these volumes particularly helpful.
This anthology is designed to introduce the reader to the contours and content of African American Studies. The text and readings included here not only impart information but seek as their foremost goal to precipitate in the reader an awareness of the complex and changing character of the African American experience--its origins, developments, and future challenges. The book aims to engage readers in the critical analysis of a broad spectrum of subjects, themes, and issues--ancient and medieval Africa, Western European domination and African enslavement, resistance to oppression, African American expressive culture, family and educational policies, economic and political matters, and the importance of ideas. The materials included in this anthology comprise a discussion of some of the fundamental problems and prospects related to the African American experience that deserve attention in a course in African American Studies. African American Studies is a broad field concerned with the examination of the black experience, both historically and presently. Hence, the subjects, themes, and issues included in this text transcend the narrow confines of traditional academic disciplinary boundaries. In selecting materials for this book, Floyd W. Hayes was guided by a developmental or historical approach in the general compilation of each section's readings. By doing so, the author hopes that the reader will be enabled to arrive at a critical understanding of the conditions and forces that have influenced the African American experience. A Collegiate Press book
Sam's dad says that he is too small to fly their new kite, but when Dad, the postman, a bank robber, and some zoo animals get pulled up into the sky, only Sam can save them.
The Crisis, founded by W.E.B. Du Bois as the official publication of the NAACP, is a journal of civil rights, history, politics, and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color. For nearly 100 years, The Crisis has been the magazine of opinion and thought leaders, decision makers, peacemakers and justice seekers. It has chronicled, informed, educated, entertained and, in many instances, set the economic, political and social agenda for our nation and its multi-ethnic citizens.
New York Times Bestseller One of the Best Books of 2021 by Time magazine, the Chicago Tribune, the Boston Globe and Esquire, and one of Oprah’s 15 Favorite Books of the Year “The Man Who Lived Underground reminds us that any ‘greatest writers of the 20th century’ list that doesn’t start and end with Richard Wright is laughable. It might very well be Wright’s most brilliantly crafted, and ominously foretelling, book.” —Kiese Laymon A major literary event: an explosive, previously unpublished novel about race and violence in America by the legendary author of Native Son and Black Boy Fred Daniels, a Black man, is picked up by the police after a brutal double murder and tortured until he confesses to a crime he did not commit. After signing a confession, he escapes from custody and flees into the city’s sewer system. This is the devastating premise of this scorching novel, a never-before-seen masterpiece by Richard Wright. Written between his landmark books Native Son (1940) and Black Boy (1945), at the height of his creative powers, it would see publication in Wright's lifetime only in drastically condensed and truncated form, and ultimately be included in the posthumous short story collection Eight Men. Now, for the first time, by special arrangement with the author’s estate, the full text of the work that meant more to Wright than any other (“I have never written anything in my life that stemmed more from sheer inspiration”) is published in the form that he intended, complete with his companion essay, “Memories of My Grandmother.” Malcolm Wright, the author’s grandson, contributes an afterword.
