This edition of Othello reprints the Bevington edition of the play accompanied by six sets of thematically arranged primary documents and illustrations designed to facilitate many different approaches to Shakespeare. The text includes tracts on marriage, travel literature, military manuals, maps, ballads, royal proclamations, early modern descriptions of Africa and the Middle East, nineteenth-century scripts for performances of Othello, and scenes from contemporary re-envisionings of the play. The primary documents contextualize race and religion in the Renaissance, gender relations, military life, the passions, the notion of the "Other" in early modern England, and the afterlife of Othello on the stage.
The author, seeking to find his grandfather's old home, follows his family history back to his great great grandfather who was born a slave and died a free man with forty acres.
Provocative, inspiring, and unflinchingly honest, My Grandfather's Son is the story of one of America's most remarkable and controversial leaders, Supreme Court Justice Clarence Thomas, told in his own words. Thomas speaks out, revealing the pieces of his life he holds dear, detailing the suffering and injustices he has overcome, including the polarizing Senate hearing involving a former aide, Anita Hill, and the depression and despair it created in his own life and the lives of those closest to him. In this candid and deeply moving memoir, a quintessential American tale of hardship and grit, Clarence Thomas recounts his astonishing journey for the first time.
Now in paperback: The New York Times bestselling memoir hailed as “unforgettable” (Publishers Weekly) and “a stunning memoir of cultural trauma and personal identity” (Booklist). At age 38, Jennifer Teege happened to pluck a library book from the shelf—and discovered a horrifying fact: Her grandfather was Amon Goeth, the vicious Nazi commandant depicted in Schindler’s List. Reviled as the “butcher of Plaszów,” Goeth was executed in 1946. The more Teege learned about him, the more certain she became: If her grandfather had met her—a black woman—he would have killed her. Teege’s discovery sends her into a severe depression—and fills her with questions: Why did her birth mother withhold this chilling secret? How could her grandmother have loved a mass murderer? Can evil be inherited? Teege’s story is cowritten by Nikola Sellmair, who also adds historical context and insight from Teege’s family and friends, in an interwoven narrative. Ultimately, Teege’s search for the truth leads her, step by step, to the possibility of her own liberation.
"This is a book of stories," writes Henry Louis Gates, "and all might be described as 'narratives of ascent.'" As some remarkable men talk about their lives, many perspectives on race and gender emerge. For the notion of the unitary black man, Gates argues, is as imaginary as the creature that the poet Wallace Stevens conjured in his poem "Thirteen Ways of Looking at a Blackbird." James Baldwin, Colin Powell, Harry Belafonte, Bill T. Jones, Louis Farrakhan, Anatole Broyard, Albert Murray -- all these men came from modest circumstances and all achieved preeminence. They are people, Gates writes, "who have shaped the world as much as they were shaped by it, who gave as good as they got." Three are writers -- James Baldwin, who was once regarded as the intellectual spokesman for the black community; Anatole Broyard, who chose to hide his black heritage so as to be seen as a writer on his own terms; and Albert Murray, who rose to the pinnacle of literary criticism. There is the general-turned-political-figure Colin Powell, who discusses his interactions with three United States presidents; there is Harry Belafonte, the entertainer whose career has been distinct from his fervent activism; there is Bill T. Jones, dancer and choreographer, whose fierce courage and creativity have continued in the shadow of AIDS; and there is Louis Farrakhan, the controversial religious leader. These men and others speak of their lives with candor and intimacy, and what emerges from this portfolio of influential men is a strikingly varied and profound set of ideas about what it means to be a black man in America today.
Black Politics in a Time of Transition appears at an historic point in American politics. From the vantage point of the maturation of the study of black politics, this volume provides a framework for current and future discussion of this critical time. Incorporating the expanded stream of work on today's black politics, this latest volume of the National Political Science Review is also a new assessment of the period from which the study of black politics emerged. Selected for this volume are chapters of contemporary relevance alongside those that reconsider an early twentieth- century pioneer in black politics and history, W. E. B. Du Bois. The volume also includes a robust book review section that spans a range of topics from the South's new racial politics to the aftermath of Hurricane Katrina. This volume features work by varied and accomplished scholars, including "Black Power in Black Presidential Bids From Jackson to Obama," Katherine Tate; "'But I Voted for Obama': Melodrama and Post-Civil Rights, Post-Feminist Ideology in Grey's Anatomy, Crash, and Barack Obama's 2008 Presidential Bid," Nikol Alexander-Floyd; "Afro-Brazilian Black Linked Fate in Salvador and Sao Paulo, Brazil," Gladys Mitchell; and "Beyond Tactical Withdrawal: An Early History of the National Conference of Black Political Scientists," Joseph P. McCormick, II.
Simone C. Drake spent the first several decades of her life learning how to love and protect herself, a black woman, from the systems designed to facilitate her harm and marginalization. But when she gave birth to the first of her three sons, she quickly learned that black boys would need protection from these very same systems—systems dead set on the static, homogenous representations of black masculinity perpetuated in the media and our cultural discourse. In When We Imagine Grace, Drake borrows from Toni Morrison’s Beloved to bring imagination to the center of black masculinity studies—allowing individual black men to exempt themselves and their fates from a hateful, ignorant society and open themselves up as active agents at the center of their own stories. Against a backdrop of crisis, Drake brings forth the narratives of black men who have imagined grace for themselves. We meet African American cowboy, Nat Love, and Drake’s own grandfather, who served in the first black military unit to fight in World War II. Synthesizing black feminist and black masculinity studies, Drake analyzes black fathers and daughters, the valorization of black criminals, the black entrepreneurial pursuits of Marcus Garvey, Berry Gordy, and Jay-Z, and the denigration and celebration of gay black men: Cornelius Eady, Antoine Dodson, and Kehinde Wiley. With a powerful command of its subjects and a passionate dedication to hope, When We Imagine Grace gives us a new way of seeing and knowing black masculinity—sophisticated in concept and bracingly vivid in telling.
A pioneering, dazzling satire about a biracial black girl from Philadelphia searching for her Jewish father in New York City Oreo is raised by her maternal grandparents in Philadelphia. Her black mother tours with a theatrical troupe, and her Jewish deadbeat dad disappeared when she was an infant, leaving behind a mysterious note that triggers her quest to find him. What ensues is a playful, modernized parody of the classical odyssey of Theseus with a feminist twist, immersed in seventies pop culture, and mixing standard English, black vernacular, and Yiddish with wisecracking aplomb. Oreo, our young hero, navigates the labyrinth of sound studios and brothels and subway tunnels in Manhattan, seeking to claim her birthright while unwittingly experiencing and triggering a mythic journey of self-discovery like no other.
