In the late 1980s, gansta rap music emerged in urban America, giving voice to, & making money for, a social group widely believed to be in crisis: young, poor, black men. Quinn probes the origins of the genre, & follows its development, focusing on artists such as Ice Cube & Tupac Shakur.
To protect their identity and values, Africans enslaved in America transformed various familiar character types to create folk heroes who offered models of behavior both recognizable to them as African people and adaptable to their situation in America. Roberts specifically examines the Afro-American trickster and the trickster tale tradition, the conjurer as folk hero, the biblical heroic tradition, and the badman as outlaw hero.
A Companion to African Rhetoric, edited by Segun Ige, Gilbert Motsaathebe, and Omedi Ochieng, presents the reader with different perspectives on African rhetoric mostly from Anglophone sub-Saharan Africa and the Diaspora. The African, Afro-Caribbean, and African American rhetorician contributors conceptualize African rhetoric, examine African political rhetoric, analyze African rhetoric in literature, and address the connection between rhetoric and religion in Africa. They argue for a holistic view of rhetoric on the continent.
This collection contributes to scholarly discussions about the African American novel as a literary form. Essays respond to the general question, what has been the impact of the African American vernacular tradition from the spirituals, blues, gospel and jazz to hip hop on the structure and style of the modern African American novel?
How have African American writers drawn on "bad" black men and black boys as creative touchstones for their evocative and vibrant art? This is the question posed by Howard Rambsy’s new book, which explores bad men as a central, recurring, and understudied figure in African American literature and music. By focusing on how various iterations of the bad black man figure serve as creative muse and inspiration for literary production, Rambsy puts a wide variety of contemporary African American literary and cultural works in conversation with creativity research for the first time. Employing concepts such as playfulness, productivity, divergent thinking, and problem finding, Rambsy examines the works of a wide range of writers—including Elizabeth Alexander, Amiri Baraka, Paul Beatty, Ta-Nehisi Coates, Tyehimba Jess, Trymaine Lee, Adrian Matejka, Aaron McGruder, Evie Shockley, and Kevin Young—who have drawn on notions of bad black men and boys to create innovative and challenging works in a variety of genres. Through groundbreaking readings, Rambsy demonstrates the fruitfulness of viewing black literary art through the lens of creativity research.
Franchises have become an ever-present feature of American life, both in our landscapes and our economics. Peter M. Birkeland worked for three years in the front-line operations of franchise units for three companies, met with CEOs and executives, and attended countless trade shows, seminars, and expositions. Through this extensive fieldwork Birkeland not only discovered what makes franchisees succeed or fail, he uncovered the difficulties in running a business according to someone else's system and values. Bearing witness to a market flooded with fierce competitors and dependent on the inscrutable whims of consumers, he revealed the numerous challenges that franchisees face in making their businesses succeed. Book jacket.
Winner of the 2004 C. Hugh Holman Award from the Society for the Study of Southern Literature. Seems Like Murder Here offers a revealing new account of the blues tradition. Far from mere laments about lost loves and hard times, the blues emerge in this provocative study as vital responses to spectacle lynchings and the violent realities of African American life in the Jim Crow South. With brilliant interpretations of both classic songs and literary works, from the autobiographies of W. C. Handy, David Honeyboy Edwards, and B. B. King to the poetry of Langston Hughes and the novels of Zora Neale Hurston, Seems Like Murder Here will transform our understanding of the blues and its enduring power.
Andrew B. Leiter presents the first book-length study of the sexually violent African American man, or "black beast," as a composite literary phenomenon. According to Leiter, the black beast theme served as a fundamental link between the Harlem and Southern Renaissances, with writers from both movements exploring its psychological, cultural, and social ramifications. Indeed, Leiter asserts that the two groups consciously engaged one another's work as they struggled to define roles for black masculinity in a society that viewed the black beast as the raison d'être for segregation. Leiter begins by tracing the nineteenth-century origins of the black beast image, and then provides close readings of eight writers who demonstrate the crucial impact anxieties about black masculinity and interracial sexuality had on the formation of American literary modernism. James Weldon Johnson's The Autobiography of an Ex-Colored Man, Walter White's The Fire in the Flint, George Schuyler's Black No More, William Faulkner's Light in August, Margaret Mitchell's Gone with the Wind, Allen Tate's The Fathers, Erskine Caldwell's Trouble in July, and Richard Wright's Native Son, as well as other works, provide strong evidence that perceptions of black male sexual violence shaped segregation, protest traditions, and the literature that arose from them. Leiter maintains that the environment of southern race relations -- which allowed such atrocities as the Atlanta riot of 1906, numerous lynchings, Virginia's Racial Integrity Act, and the Scottsboro trials -- influenced in part the development of both the Harlem and Southern Renaissances. While the black beast image had the most pernicious impact on African American individual and communal identities, he says the "threat" of black masculinity also shaped concepts of white national and communal identities, as well as white femininity and masculinity. In the Shadow of the Black Beast signals a fresh interpretation of a literary stereotype within its social and historical context.
New York Times bestselling author John Connolly masterfully intertwines mystery, emotion, violence, and the supernatural in this raw and gripping thriller. He has been told the girl’s last words, and he feels unaccountably afraid. The dead ones. They were dead, but they had lights. Why do the dead need light? Three hundred years ago, the settlers on the small Maine island of Sanctuary were betrayed to their enemies and slaughtered. Since then, the island has known peace. Until now. A gang of four men are descending on Sanctuary, intent on committing a brutal and relentless massacre. All that stands in their way are rookie police officer Sharon Macie and the strange, troubled officer Joe Dupree. But Joe is no ordinary policeman. He knows the island has been steeped in blood once and that it will never again tolerate the shedding of innocent blood. The band of killers who are set to desecrate Sanctuary will unleash the fury of its ghosts upon themselves and all who stand by them. On Sanctuary, all hell is about to break loose...