The definitive biography of the groundbreaking African American author who had an extraordinary legacy on black writers globally.
In his Chester B. Himes (1909–1984), Lawrence P. Jackson depicts the improbable life of the controversial writer whose novels confront sexuality, racism, and social injustice. In absorbing detail, Jackson explores Chester Himes’s middle-class origins, eight years in prison, painful odyssey as a black World War II–era artist, and escape to Europe, where Himes became internationally famous for his Harlem detective series. Praised by Henry Louis Gates, Jr., as “one of the towering figures of the black literary tradition,” Himes, author of the bestsellers If He Hollers, Let Him Go and Cotton Comes to Harlem, published twenty literary works over a long career, enhanced by friendships with Ralph Ellison, Richard Wright, and Carl Van Vechtern.
Chester B. Himes relies on exclusive interviews and unrestricted access to Himes’s full archives. Jackson restores the legacy of a fascinating maverick determined to etch disturbing portraits of American urban life that remain vivid and contemporary.
Over the past several years scholars, activists, and analysts have begun to examine the growing divide between the wealthy and the rest of us, suggesting that the divide can be traced to the neoliberal turn. “I’m not a business man; I’m a business, man.” Perhaps no better statement gets at the heart of this turn. Increasingly we’re being forced to think of ourselves in entrepreneurial terms, forced to take more and more responsibility for developing our “human capital.” Furthermore a range of institutions from churches to schools to entire cities have been remade, restructured to in order to perform like businesses. Finally, even political concepts like freedom, and democracy have been significantly altered. As a result we face higher levels of inequality than any other time over the last century.
In Knocking the Hustle: Against the Neoliberal Turn in Black Politics, Lester K. Spence writes the first book length effort to chart the effects of this transformation on African American communities, in an attempt to revitalize the black political imagination. Rather than asking black men and women to “hustle harder” Spence criticizes the act of hustling itself as a tactic used to demobilize and disempower the communities most in need of empowerment.
We have all been swept up by the momentum of the Occupy movement. We have seen the results of years of organizing in different communities come together in ways that few could have imagined, bolstered by the scores of people who have left the comfort of their daily routine behind and taken to the streets. Yet as a movement so overflowing with new social and political actors, we lack the framework we need to help us all to understand what a social movement is, to understand how change has happened in the past, to understand what this moment means and what this movement makes possible.
We Are Many is a reflection on Occupy from within the heart of the movement itself. Examining key questions: What worked? What didn’t? Why? How? Is it reproducible? The authors and activists in this collection point toward a movement-based framework for future organizing. Heavily illustrated and annotated, We Are Many is a celebration of what worked, and a thoughtful analysis of what didn’t.
Armed with only early boyhood memories, Lawrence P. Jackson begins his quest by setting out from his home in Baltimore for Pittsylvania County, Virginia, to try to find his late grandfather’s old home by the railroad tracks in Blairs. My Father’s Name tells the tale of the ensuing journey, at once a detective story and a moving historical memoir, uncovering the mixture of anguish and fulfillment that accompanies a venture into the ancestral past, specifically one tied to the history of slavery.
After asking around in Pittsylvania County and carefully putting the pieces together, Jackson finds himself in the house of distant relations. In the pages that follow, he becomes increasingly absorbed by the search for his ancestors and increasingly aware of how few generations an African American needs to map back in order to arrive at slavery, “a door of no return.” Ultimately, Jackson’s dogged research in libraries, census records, and courthouse registries enables him to trace his family to his grandfather’s grandfather, a man who was born or sold into slavery but who, when Federal troops abandoned the South in 1877, was able to buy forty acres of land. In this intimate study of a black Virginia family and neighborhood, Jackson vividly reconstructs moments in the lives of his father’s grandfather, Edward Jackson, and great-grandfather, Granville Hundley, and gives life to revealing narratives of Pittsylvania County, recalling both the horror of slavery and the later struggles of postbellum freedom.
My Father’s Name is a family story full of twists and turns—and one of haunting familiarity to many Americans, who may question whether the promises of emancipation have ever truly been fulfilled. It is also a resolute look at the duties that come with reclaiming and honoring Americans who survived slavery and a thoughtful meditation on its painful and enduring history.
Rap’s critique of police brutality in the 1980s. The Hip Hop Political Convention. The rise (and fall) of Kwame Kilpatrick, the “hip-hop mayor” of Detroit. Barack Obama echoing the body language of Jay-Z on the campaign trail.
A growing number of black activists and artists claim that rap and hip-hop are the basis of an influential new urban social movement. Simultaneously, black citizens evince concern with the effect that rap and hip-hop culture exerts on African American communities. According to a recent Pew survey conducted on the opinions of Black Americans, 71 percent of blacks think that rap is a bad influence. To what extent are African American hopes and fears about hip-hop’s potential political power justified? In Stare in the Darkness, Lester K. Spence answers this question using a blend of neoliberal analysis, survey data, experiments, and case studies.
Spence finds that rap does in fact influence black political attitudes. However, rap also reproduces rather than critiques neoliberal ideology. Furthermore, black activists seeking to create an innovative model of hip-hop politics are hamstrung by their reliance on outmoded forms of organizing. By considering the possibilities inherent in the most prolific and prominent activities of hip-hop politics, Stare in the Darkness reveals, in a clear and practical manner, the political consequences of rap culture for black publics.
The Indignant Generation is the first narrative history of the neglected but essential period of African American literature between the Harlem Renaissance and the civil rights era. The years between these two indispensable epochs saw the communal rise of Richard Wright, Gwendolyn Brooks, Ralph Ellison, Lorraine Hansberry, James Baldwin, and many other influential black writers. While these individuals have been duly celebrated, little attention has been paid to the political and artistic milieu in which they produced their greatest works. With this commanding study, Lawrence Jackson recalls the lost history of a crucial era.
Looking at the tumultuous decades surrounding World War II, Jackson restores the “indignant” quality to a generation of African American writers shaped by Jim Crow segregation, the Great Depression, the growth of American communism, and an international wave of decolonization. He also reveals how artistic collectives in New York, Chicago, and Washington fostered a sense of destiny and belonging among diverse and disenchanted peoples. As Jackson shows through contemporary documents, the years that brought us Their Eyes Were Watching God, Native Son, and Invisible Man also saw the rise of African American literary criticism–by both black and white critics.
Fully exploring the cadre of key African American writers who triumphed in spite of segregation, The Indignant Generation paints a vivid portrait of American intellectual and artistic life in the mid-twentieth century.
Author, intellectual, and social critic, Ralph Ellison (1914-94) was a pivotal figure in American literature and history and arguably the father of African American modernism. Universally acclaimed for his first novel, Invisible Man, a masterpiece of modern fiction, Ellison was recognized with a stunning succession of honors, including the 1953 National Book Award. Despite his literary accomplishments and political activism, however, Ellison has received surprisingly sparse treatment from biographers. Lawrence Jackson’s biography of Ellison, the first when it was published in 2002, focuses on the author’s early life.
Powerfully enhanced by rare photographs, this work draws from archives, literary correspondence, and interviews with Ellison’s relatives, friends, and associates. Tracing the writer’s path from poverty in dust bowl Oklahoma to his rise among the literary elite, Jackson explores Ellison’s important relationships with other stars, particularly Langston Hughes and Richard Wright, and examines his previously undocumented involvement in the Socialist Left of the 1930s and 1940s, the black radical rights movement of the same period, and the League of American Writers. The result is a fascinating portrait of a fraternal cadre of important black writers and critics―and the singularly complex and intriguing man at its center.
With this purported new “era of high-profile, mega successful, black women who are changing the face of every major field worldwide” and growing socioeconomic diversity among black women as the backdrop, Embracing Sisterhood seeks to determine where contemporary black women’s ideas of black womanhood and sisterhood merge with social class status to shape certain attachments and detachments among them. Similarities as well as variations in how black women of different social backgrounds perceive and live black womanhood are interpreted for a range of social contexts. This book confirms what many of today’s African-American women and interested observers have known for some time: Conceptions and experience of black womanhood are quite diverse and appear to have grown more diverse over time. However, the potential for a pervasive and polarizing black “step-sisterhood” is considerably undermined by the passion with which these women cling to the promises of cross-class gender/ethnic “community” and of group determination. Embracing Sisterhood draws its analysis from in-depth interviews with 88 contemporary black women aged 18 to 89 covering a variety of issues prompted by a survey questionnaire capturing various dimensions of gender/ethnic identity and consciousness.
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.