A new anthology of works by a major writer from the New Negro Movement.
Making it in Hell, says Bruce Jackson, is the spirit behind the sixty-five work songs gathered in this eloquent dispatch from a brutal era of prison life in the Deep South. Through engagingly documented song arrangements and profiles of their singers, Jackson shows how such pieces as "Hammer Ring," "Ration Blues," "Yellow Gal," and "Jody's Got My Wife and Gone" are like no other folk music forms: they are distinctly African in heritage, diminished in power and meaning outside their prison context, and used exclusively by black convicts. The songs helped workers through the rigors of cane cutting, logging, and cotton picking. Perhaps most important, they helped resolve the men's hopes and longings and allowed them a subtle outlet for grievances they could never voice when face-to-face with their jailers.
Through a reading of periodicals, memoirs, speeches, and fiction from the antebellum period to the Harlem Renaissance, this study re-examines various myths about a U.S. progressive history and about an African American counter history in terms of race, democracy, and citizenship. Reframing 19th century and early 20th-century African-American cultural history from the borderlands of the U.S. empire where many African Americans lived, worked and sought refuge, Knadler argues that these writers developed a complicated and layered transnational and creolized political consciousness that challenged dominant ideas of the nation and citizenship. Writing from multicultural contact zones, these writers forged a "new black politics"—one that anticipated the current debate about national identity and citizenship in a twenty-first century global society. As Knadler argues, they defined, created, and deployed an alternative political language to re-imagine U.S. citizenship and its related ideas of national belonging, patriotism, natural rights, and democratic agency.
In the generations after emancipation, hundreds of thousands of African-descended working-class men and women left their homes in the British Caribbean to seek opportunity abroad: in the goldfields of Venezuela and the cane fields of Cuba, the canal construction in Panama, and the bustling city streets of Brooklyn. But in the 1920s and 1930s, racist nativism and a brutal cascade of antiblack immigration laws swept the hemisphere. Facing borders and barriers as never before, Afro-Caribbean migrants rethought allegiances of race, class, and empire. In Radical Moves, Lara Putnam takes readers from tin-roof tropical dancehalls to the elegant black-owned ballrooms of Jazz Age Harlem to trace the roots of the black-internationalist and anticolonial movements that would remake the twentieth century. From Trinidad to 136th Street, these were years of great dreams and righteous demands. Praying or "jazzing," writing letters to the editor or letters home, Caribbean men and women tried on new ideas about the collective. The popular culture of black internationalism they created--from Marcus Garvey's UNIA to "regge" dances, Rastafarianism, and Joe Louis's worldwide fandom--still echoes in the present.
"You know, I thought when I died.... I really thought at the time that was the end of my goodbyes. Either the Good Book was right and I was headed to a place of endless happiness, or it was complete rubbish and I would just cease to be. Either way I was prepared. But this... after all this time I am still not prepared for this." Thomas Salazar didn't know what to expect when he died, but it certainly wasn't Jack Macintyre. Yet here he was, dead, with Jack standing there offering him a job. In a world where reality can respond to your every thought, a job that offers endless surprises can be enticing. Leaving life behind, however, isn't easy and the job holds its own risks. To complicate matters, the more souls he meets, the more Thomas realizes that everybody, including Jack, has an agenda they're not fully disclosing. Even Thomas's childhood pet seems to have secrets. "How is it that death is so much more complicated than life?"
On a blowtorch-hot night in Cape Town, ex-model Roxy Palmer and her gunrunner husband, Joe, are carjacked, leaving Joe lying in a pool of blood. As the carjackers make their getaway, Roxy makes a choice that changes her life forever. Disco and Godwynn, the ghetto gangbangers who sped away in Joe's convertible, will stop at nothing to track her down. Billy Afrika, a mixed-race ex-cop turned mercenary, won't let her out of his sight because Joe owed him a chunk of money. And hunting them all is Piper, a love-crazed psychopath determined to renew his vows with his jailhouse "wife," Disco. As these desperate lives collide and old debts are settled in blood, Roxy is caught in a wave of escalating violence in the beautiful and brutal African seaport.
After researcher Mason Brooks invents a dream-the-future machine, he uses it to amass riches in stocks and gambling and to impress the beautiful Monica Westfield.
Frustrated over his failure to sell antiques in Betterton, a small town on the Chesapeake Bay, Mark Hopkins, a handsome, rich and bright 27-year old former SEAL, decides to become a private art dealer and buys a farm outside Rock Hall, near the Eastern Neck Island Wildlife Refuge. Two weeks later he discovers an important impressionist painting in an antiques store in Baltimore, which he buys for $10,000 and sells for $329,000. His joy, however is short-lived when his father dies unexpectedly, forcing him to take over operation of his familys steel mill in Baltimore. After the funeral, his death is ruled by suspicious means. A subsequent murder resolves everything, with at least two gorgeous women always competing for his love. The characters are strong, with a storyline that reads like a movie script.
Presents writings by and criticism on seventeen Harlem Renaissance authors, including Claude McKay and Jean Toomer. This volume covers I-Z.