Clarence Major is an award-winning painter, fiction writer, and poet-as well as an essayist, editor, anthologist, lexicographer, and memoirist. He has been part of twenty-eight group exhibitions, has had fifteen one-man shows, and has published fourteen collections of poetry and nine works of fiction. The author traces Major's life and career from his complex family history in Georgia through his encounters with important literary and artistic figures in Chicago and New York to his present status as a respected writer, artist, teacher, and scholar living in California.
In the first volume to collect the paintings and drawings of Clarence Major, readers are offered six decades of unique, colorful, and compelling canvases and works on paper—works of singular beauty and social relevance. These works represent Major’s personal painterly journey of passionate commitment to art. This generous selection of more than 150 paintings and drawings shows us the melding of rich ideas and fertile images, the braiding of imagination and motif. With their pleasing arrangement of elements, the works come vividly to life. Major often juxtaposes a decorative scheme with his own unique choice of color combinations, reinforced with rigorous brushstrokes that release chromatic energy. The paintings complement and challenge the great traditions of Realism, Impressionism, and Expressionism. Major is primarily a figurative and landscape painter. Here we find landscapes of singular vitality, rich in color and design, dramatic landscapes, and cityscapes representing, among other things, Major’s extensive travels in America and Europe. We are also treated to Major’s signature figurative work. In these paintings, he ventures fearlessly into familiar yet unexpected areas of richness. Also included is an introductory essay, “The Education of a Painter,” written by the artist, which further sheds light on and helps to lay a biographical, social, and historical foundation for this essential volume, reflecting a lifetime of serious commitment to painting at its best.
A quietly influential force in African American literature and art, Clarence Major makes his Penguin Classics debut with the twenty-fifth-anniversary edition of Dirty Bird Blues The PRH Audio book of Dirty Bird Blues by Clarence Major won a 2022 EARPHONE AWARD. Narrated by Dion Graham. A Penguin Classic Set in post-World War II Chicago and Omaha, the novel features Manfred Banks, a young, harmonica-blowing blues singer who is always writing music in his head. Torn between his friendships with fellow musicians and nightclub life and his responsibilities to his wife and child, along with the pressures of dealing with a racist America that assaults him at every turn, Manfred seeks easy answers in "Dirty Bird" (Old Crow whiskey) and in moving on. He moves to Omaha with hopes of better opportunities as a blue-collar worker, but the blues in his soul and the dreams in his mind keep bringing him back to face himself. After a nightmarish descent into his own depths, Manfred emerges with fresh awareness and possibility. Through Manfred, we witness and experience the process by which modern American English has been vitalized and strengthened by the poetry and the poignancy of the African-American experience. As Manfred struggles with the oppressive constraints of society and his private turmoil, his rich inner voice resonates with the blues.
Clarence Major is an award-winning painter, fiction writer, and poet—as well as an essayist, editor, anthologist, lexicographer, and memoirist. He has been part of twenty-eight group exhibitions, has had fifteen one-man shows, and has published fourteen collections of poetry and nine works of fiction. The Art and Life of Clarence Major is the first critical biography of this innovative African American writer and visual artist. Given the full cooperation of his subject, Keith E. Byerman traces Major’s life and career from his complex family history in Georgia through his encounters with important literary and artistic figures in Chicago and New York to his present status as a respected writer, artist, teacher, and scholar living in California. In his introduction, Byerman asks, “How does a black man who does not take race as his principal identity, an artist who deliberately defies mainstream rules, a social and cultural critic who wants to be admired by the world he attacks, and a creator who refuses to commit to one expressive form make his way in the world?” Tasking himself with opening up the multiple layers of problems and solutions in both the work and the life to consider the successes and the failures, Byerman reveals Major as one who has devoted himself to a life of experimental art that has challenged both literary and painterly practice and the conventional understanding of the nature of African American art. Major’s refusal to follow the rules has challenged readers and critics, but through it all, he has continued to produce quality work as a painter, poet, and novelist. His is the life of someone totally devoted to his creative work, one who has put his artistic vision ahead of fame, wealth, and sometimes even family. A Sarah Mills Hodge Fund Publication.
This novel is about a man pursued by his shadow. Its protagonist is either a desperate ex-con who has become convinced that he is an important American novelist or a desperate American novelist who has become convinced that he, and most of what passes for literary life on three continents, is a con.
This novel follows two friends, one Black and one white, who grew up wards of the state in New York. As adults, Ray has found success while Scotty struggles, but both seek love, comfort, and a place in the world.
Seizing the Word offers a comprehensive reading of the work of W. E. B. Du Bois (1868–1963), a pivotal figure in the intellectual life of nineteenth- and twentieth-century America. As a historian, journalist, novelist, poet, and social and literary critic, this extraordinary man profoundly influenced our understanding of the African American experience. Following his initial discussion of Du Bois's earliest writing, Keith E. Byerman posits The Souls of Black Folk (1903) as a master text that established the tropes of doubleconsciousness and the veil for which Du Bois is known, and incorporated the various genres through which he voiced his understanding of the world. The remainder of the study discusses Du Bois's works as elaborations of the master text within and against the contemporary discourses on history, art, and self. Throughout Byerman examines the connections between the personal and intellectual aspects of Du Bois's life to reveal the intense engagement with moral and ideological issues found even in texts that Du Bois represented as “objective.” At the same time, in order to present some of the complexity and conflict that runs through Du Bois's work, Byerman identifies the tensions and patterns in Du Bois's writing that cross disciplines or genres. Instead of focusing on one aspect of Du Bois's career, Seizing the Word attempts a more synthetic approach, primarily by examining Du Bois in terms of contemporary literary and cultural theory, most notably Lacan's Law of the Father and Erikson's work on identity.
