Horizon Realty is bringing Harlem back to its Renaissance. With the help of Cedric, Bobby, and Horus-three ex-cons trying to forge a new life-Horizon clears out the rubble and the rabble, filling once-dilapidated brownstones with black professionals handpicked for their shared vision of Harlem as a shining icon for the race. And fate seems to be working in Horizon's favor: Harlem's undesirable tenants seem increasingly clumsy of late, meeting early deaths by accident. As an ambitious reporter, Piper Goines, begins to investigate the neighborhood's extraordinarily high accident rate, Horizon's three employees find themselves fighting for their souls and their very lives-against a backdrop of some of the most beautiful brownstones in all of Manhattan.
Both his family and his city are crumbling when thirteen-year-old Griffin Watts stumbles headlong into his estranged father’s illicit architectural salvage business in 1970s Manhattan. Griffin clambers up the façades of tenements and skyscrapers to steal their nineteenth-century architectural sculptures—gargoyles and sea monsters, goddesses and kings. As his father sees it, these evocative creatures, crafted by immigrant artisans, are an endangered species in an age of sweeping urban renewal. Desperate for money to help his artist mother keep their home, and yearning to connect with his father, Griffin fails to see that his father’s deepening obsession with preserving the treasures of Gilded Age New York endangers them all. As he struggles to hold his family together and build a first love with his girlfriend on a sturdier foundation than his parents’ marriage, Griffin must learn to develop himself into the man he wants to become, and discern which parts of his life may be salvaged—and which parts must be let go. Hilarious and poignant, this critically acclaimed debut is both a vivid love letter to a vanishing city and an intimate portrait of father and son. And it solves the mystery of a stunningly brazen architectural heist—the theft of an entire landmark building—that made the front page of The New York Times in 1974. With writing both tender and powerful, The Gargoyle Hunters brings a remarkable new voice to the canon of New York fiction.
A walker, a reader and a gazer, Sharifa Rhodes-Pitts is also a skilled talker whose impromptu kerbside exchanges with Harlem's most colourful residents are transmuted into a slippery, silky set of observations on what change and opportunity have wrought in this small corner of a big city, Harlem, with its outsize reputation and even-larger influence. Hers is a beguilingly well-written meditation on the essence of black Harlem, as it teeters on the brink of seeing its poorer residents and their rich histories turfed out by commercial developers intent on providing swish condos for cool-seeking (and mostly white) gentrifiers. In a mix of conversations with scholars and streetcorner men, thoughtful musings on notable antecedents and illustrious Harlemites of the twentieth century, and her own story of migration (from Texas to Harlem via Harvard), Rhodes-Pitts exhibits a sensitivity and subtlety in her writing that is very impressive and very promising. There are echoes of Joan Didion's distinctive rhythms in her prose. This is an exceptionally striking and alluring debut.
Race and Real Estate brings together new work by architects, sociologists, legal scholars, and literary critics that qualifies and complicates traditional narratives of race, property, and citizenship in the United States. Rather than simply rehearsing the standard account of how blacks were historically excluded from homeownership, the authors of these essays explore how the raced history of property affects understandings of home and citizenship. While the narrative of race and real estate in America has usually been relayed in terms of institutional subjugation, dispossession, and forced segregation, the essays collected in this volume acknowledge the validity of these histories while presenting new perspectives on this story.
Gentrification-by any means necessary. With the help of new employees Cedric, Bobby, and Horus-three ex-cons trying to forge a new life-Lester Baines's Horizon Realty is bringing Harlem back to its renaissance. Fate seems to be working in Lester's favor when Harlem's undesirable tenants begin to get clumsy and meet early deaths by accident. A deadbeat dad electrocutes himself in the bathtub. A drug dealer takes flight from his fire escape. A pimp is shot dead by police when they mistake his wallet for a handgun. That's where Horizon steps in. Block by block, Lester and his crew clear out the rubble and the rabble, filling once dilapidated brownstones with black professionals handpicked for their shared vision of Harlem as a shining icon for the race. Rumors of the Chupacabra, a mythical monster claiming the lives of Harlem's unfortunate, run rampant with Harlem's youth. But it isn't until an ambitious reporter begins to investigate the extraordinarily high accident rate in Harlem that Lester starts to get a little nervous about Horizon's future. For Lester, no cost is too high in protecting Horizon and his vision for restoration. The battle for gentrification and for the souls and very lives of the ex-cons plays out on the streets of Harlem and against a backdrop of beautiful Manhattan brownstones. Mat Johnson has created vividly memorable characters and a story that stands out as one of the most controversial and explosive in years. As sure to ignite debate as it is to entertain, Hunting in Harlem is an old-fashioned page-turner with a fresh and brave voice.
In Black Madness :: Mad Blackness Therí Alyce Pickens rethinks the relationship between Blackness and disability, unsettling the common theorization that they are mutually constitutive. Pickens shows how Black speculative and science fiction authors such as Octavia Butler, Nalo Hopkinson, and Tananarive Due craft new worlds that reimagine the intersection of Blackness and madness. These creative writer-theorists formulate new parameters for thinking through Blackness and madness. Pickens considers Butler's Fledgling as an archive of Black madness that demonstrates how race and ability shape subjectivity while constructing the building blocks for antiracist and anti-ableist futures. She examines how Hopkinson's Midnight Robber theorizes mad Blackness and how Due's African Immortals series contests dominant definitions of the human. The theorizations of race and disability that emerge from these works, Pickens demonstrates, challenge the paradigms of subjectivity that white supremacy and ableism enforce, thereby pointing to the potential for new forms of radical politics.
Hunter Davies's first major interview was with John Masefield for The Sunday Times in 1963. In the years since, he has interviewed many of the most famous people that the late twentieth century has to offer, from James Baldwin and Orson Welles to Jack Nicholson and Salman Rushdie. in an eclectic and highly readable selection, we learn that Noel Coward enjoyed watching operations and considered himself 'about as decadent as a suet pudding', David Hockney dyed his hair because 'blonds have more fun', and Anthony Burgess had yet to touch the body of an Englishwoman. Christy Brown concedes 'I'm just a run-of-the-mill genius', while Alan Sugar admits 'I'm a miserable sod'. The book opens with a specially written introduction in which Hunter Davies explores the art of the Celebrity Interview, and turns the tables to interview fellow practitioners, such as Lynn Barber and Angela Lambert.
“An exquisitely detailed account of the 400-year history of Harlem.” —Booklist, starred review Harlem is perhaps the most famous, iconic neighborhood in the United States. A bastion of freedom and the capital of Black America, Harlem’s twentieth-century renaissance changed our arts, culture, and politics forever. But this is only one of the many chapters in a wonderfully rich and varied history. In Harlem, historian Jonathan Gill presents the first complete chronicle of this remarkable place. From Henry Hudson’s first contact with native Harlemites, through Harlem’s years as a colonial outpost on the edge of the known world, Gill traces the neighborhood’s story, marshaling a tremendous wealth of detail and a host of fascinating figures from George Washington to Langston Hughes. Harlem was an agricultural center under British rule and the site of a key early battle in the Revolutionary War. Later, wealthy elites including Alexander Hamilton built great estates there for entertainment and respite from the epidemics ravaging downtown. In the nineteenth century, transportation urbanized Harlem and brought waves of immigrants from Germany, Italy, Ireland, and elsewhere. Harlem’s mix of cultures, extraordinary wealth, and extreme poverty was electrifying and explosive. Extensively researched, impressively synthesized, eminently readable, and overflowing with captivating characters, Harlem is a “vibrant history” and an impressive achievement (Publishers Weekly). “Comprehensive and compassionate—an essential text of American history and culture.” —Kirkus Reviews, starred review “It’s bound to become a classic or I’ll eat my hat!” —Edwin G. Burrows, Pulitzer Prize–winning coauthor of Gotham: A History of New York City to 1898
From 30 Americans to Angry White Boy, from Bamboozled to The Boondocks, from Chappelle's Show to The Colored Museum, this collection of twenty-one essays takes an interdisciplinary look at the flowering of satire and its influence in defining new roles in black identity. As a mode of expression for a generation of writers, comedians, cartoonists, musicians, filmmakers, and visual/conceptual artists, satire enables collective questioning of many of the fundamental presumptions about black identity in the wake of the civil rights movement. Whether taking place in popular and controversial television shows, in a provocative series of short internet films, in prize-winning novels and plays, in comic strips, or in conceptual hip-hop albums, this satirical impulse has found a receptive audience both within and outside the black community. Such works have been variously called “post-black,” “post-soul,” and examples of a “New Black Aesthetic.” Whatever the label, this collection bears witness to a noteworthy shift regarding the ways in which African American satirists feel constrained by conventional obligations when treating issues of racial identity, historical memory, and material representation of blackness. Among the artists examined in this collection are Paul Beatty, Dave Chappelle, Trey Ellis, Percival Everett, Donald Glover (a.k.a. Childish Gambino), Spike Lee, Aaron McGruder, Lynn Nottage, ZZ Packer, Suzan Lori-Parks, Mickalene Thomas, Touré, Kara Walker, and George C. Wolfe. The essays intentionally seek out interconnections among various forms of artistic expression. Contributors look at the ways in which contemporary African American satire engages in a broad ranging critique that exposes fraudulent, outdated, absurd, or otherwise damaging mindsets and behaviors both within and outside the African American community.
