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E. Ethelbert Miller Table

 

 

Books by E. Ethelbert Miller

 

How We Sleep on the Nights We Don’t Make Love  /  Fathering Words  / In Search of Color Everywhere

 

First Light: New and Selected Poems Where are the Love Poems for Dictators?  /  Whispers, Secrets and Promises

 

Beyond The Frontier: African-American Poetry for the 21st Century  / Season of Hunger/Cry of Rain

 

Synergy: An Anthology of Washington D.C. Black Poetry

 

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Bio-Sketch

 

E. Ethelbert Miller,  former chair of the Humanities Council of Washington DC, is a core faculty member of the Bennington Writing Seminars at Bennington College.  He has been the director of the African American Resource Center at Howard University since 1974.

His In Search of Color Everywhere (1994) was awarded the 1994 PEN Oakland Josephine Miles Award. The anthology was also a Book of the Month Club selection. 

Mr. Miller was one of the 60 American authors selected and honored by Laura Bush and The White House at the First National Book Festival, September 8, 2001.

Mr. Miller has served as a visiting professor at the University of Nevada, Las Vegas and adjunct professor at American University.  In 1996 he was the Jessie Ball DuPont Scholar at Emory & Henry College. He was scholar-in-residence at George Mason University for the Spring 2000 semester, and the 2001 Carell Writer-in-Residence at Harpeth Hall School in Nashville, Tennessee. more bio

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Bio-Update.—E. Ethelbert Miller is a literary activist. He is board chair of the Institute for Policy Studies (IPS). He is also a board member of The Writer's Center and editor of Poet Lore magazine. The author of several collections of poems, his book How We Sleep on the Nights We Don’t Make Love (Curbstone Press, 2004) was an Independent Publisher Award Finalist. Miller received the 1995 O.B. Hardison Jr. Poetry Prize.

He was awarded in 1996 an honorary doctorate of literature from Emory & Henry College. In 2003 his memoir Fathering Words: The Making of an African American Writer (St. Martin's Press, 2000) was selected by the DC WE READ for its one book, one city program sponsored by the D.C. Public Libraries. In 2004 Miller was awarded a Fulbright to visit Israel. Poets & Writers presented him with the 2007 Barnes & Noble/Writers for Writers Award. Mr. Miller is often heard on National Public Radio (NPR)

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Speaking of Faith: Black and Universal

(audio file)

E. Ethelbert Miller is the board chairman of the Institute for Policy Studies. He has been the director of the African American Resource Center at Howard University since 1974. Miller is a former chairman of the Humanities Council of Washington, D.C., and a former core faculty member of the Bennington Writing Seminars at Bennington College. He is the editor of Poet Lore and the author of several collections of poetry and two memoirs. NPR

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This is what the E Stands for

Below are the organizations I represent. They all advance the things I believe in: progressive politics, poetry, African American culture, social networking and the construction of the Beloved Community. I hope you will support these organizations in 2009. Visit the Provisions Library site, subscribe to Poet Lore magazine, or simply come to Howard University and visit the African American Resource Center located on the 3rd floor of Founders Library. If you're in another city, state or country, just drop me a note at: emiller698@aol.com. Let me know what you're doing—maybe I can help.
 

Institute for Policy Studies: http://www.ips-dc.org/ (Board Chair)
African American Resource Center, Howard University: www.howard.edu (Director)
Provisions Learning Project: http://www.provisionslibrary.org/ (Board Chair)
Poet Lore magazine: http://www.poetlore.com/
The Writer's Center: http://www.writer.org/ (Board Member)
Split This Rock: http://www.splitthisrock.org/ (Board Member)
Capitol Letters Writing Center: http://www.capitolletters.org/ (Board Member)
When The Word Is Written Literary Series, Historical Society of Washington, D.C. http://www.historydc.org/ (Host and Organizer)
Of Note Magazine: http://www.ofnotemagazine.org/ (Advisor)
E-Notes and E-MAG: http://www.eethelbertmiller1.blogspot.com/

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Speaking of Faith: Black and Universal

(audio file)

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The Next Media Game

So now watch how the media will begin to mention how the future of the Obama Administration will be decided by who he picks to be on the Supreme Court. So much for health-care. No matter who Obama picks Republicans will object to that person view of the law. It's important to place a liberal voice on the court in order to swing American politics back to the center. A liberal win in the court fight sets up a liberal win in the fall. Republicans will find Obama to be as difficult defeat as Reagan was for Democrats. We might be at the beginning of what historians will call a Second Reconstruction. A time of major changes that prepares us for a radical future.

The battle will be fought in the media and the attempt to define not just the truth but what it means to be American. The battle will be over the control of myths. The victim in all of this will be American history. Will the revisionists step forward? A key battle will be between Newt and Palin. A man with conservative ideas against a woman with conservative jokes. Reaching the future is not a laughing matter. The Left has to understand how to govern. The word we need to introduce back into our vocabulary is progressive. We need to embrace the future as a place that will be different in terms of values and beliefs. We need to define ourselves as new men and women.

Why for example are we holding on to old ways of understanding religion as well as sex and race? The fact that the word Negro is still on the census form should tell us something. What year is it? E-Note 10 April 2010 http://www.eethelbertmiller1.blogspot.com/

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On Marc Steiner Show

How do we value poetry, music, and language in our modern era?

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E. Ethelbert Miller Nov 2009—April 10, 2010

At The Center for Black Literature at Medgar Evers College, Brooklyn NY

recorded November 20, 2009 by Troy Johnson, AALBC.com

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Table

All that could go wrong 

Dancing to the New Music March 15, 2010

Fathering Words

From Orenthal to Obama

Galbus on Ethelbert

In Shadows There Are Men  (poem)

It Must Be Lester Young   (poem)

The Meaning of Barack Obama

The More Perfect Union or Reconstruction Blues?

Omar, Books, and Me  (poem)

New York: St. Vincent's Hospital  (poem)

A Poem for Richard   (poem)

Reading the Inaugural Speech 2009

Responses to A New Black Power  

Responsibility of Blacks in Cyberspace

On Silences and Father's Day

Sketch Bio E Ethelbert Miller

Stimulus Bill to Support Artists and Writers

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Related files

1935 A Memoir

Amazing Grace 

Amiri Baraka

Beltway: An Online Poetry Quarterly

Black Arts and Black Power Figures

Deliverance

Fishbone and Blues

Give Peace a Chance 

Here I Go Again

If I Aint African  (Glenis Redmond)

Katrina Survivor Stories

Lasana Sekou

Lee Meitzen Grue

Lifting  (Glenis Redmond)

Louis Reyes Rivera

Mama's Magic  (Glenis Redmond)

Mango  (Glenis Redmond)

Mona Lisa Saloy

my backyard 

Mystic Mam-A-Jama—a Poem 

A Naïve Political Treatise

A New Black Power 

Now I Lay Me Down to Sleep

Parameters of a Black Political Party

Poem for Rudy 

Purple Ribbon Cross News

Refuse to Watch You Die 

Responses to "A New Black Power"

Search for Black Men: Vietnam Post-Mortem 

Searching for my Great Grandmother at Stonewall 

She   (Glenis Redmond)

Terry O'Neal Bio 

Terry O'Neal Reviews 

Those Were the Days 

Transcript of Harry Belafonte-Larry King Interview

Tsunami 

Village Cry  (Glenis Redmond)

Voices of the Culture

What Next

What's up Detroit? 

What We Carry 

Yusef Komunyakaa

*   *   *   *   *

Free Fall

When the bearded man on the screen
says the word infidel I collapse
into the wrong century. I fall through the hands
of pirates and warlords. Every poet should own a cape.
Every poem should have a secret identity.
During emergencies break glass and read.
Arm yourself but don't be a Crusade.
If you find yourself on the road to Mecca
ask the heart for directions. All prayers
have receipts. Every religion comes with
a price.

E. Ethelbert Miller

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Finding Aid to the Eugene Ethelbert Miller Papers

(22 September 2000) Emory & Henry College Special Collections and Archives

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The 5th Inning by E. Ethelbert Miller

The 5th Inning is poet and literary activist E. Ethelbert Miller's second memoir. Coming after Fathering Words: The Making of An African American Writer (published in 2000), this book finds Miller returning to baseball, the game of his youth, in order to find the metaphor that will provide the measurement of his life. Almost 60, he ponders whether his life can now be entered into the official record books as a success or failure.

The 5th Inning is one man's examination of personal relationships, depression, love and loss. This is a story of the individual alone on the pitching mound or in the batters box. It's a box score filled with remembrance. It's a combination of baseball and the blues.

To see a clip of Ethelbert reading The 5th Inning click here: http://www.eethelbertmiller.com/etube

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April Fool’s Day: An American Sonnet

You go to work today and someone enters your office around 10AM.
They inform you that your job has been abolished.
You think it's a prank, an April Fool's Day joke.
But after Thursday comes Friday.
You stare at the weekend - naked and alone.
You wonder how you're going to make ends meet.
Your tears become April showers.
You have no idea what you're going to do.
One night you're sitting in the dark talking to yourself.
How did this suddenly happen?
You walk across the room and search through your old record albums.
You pull John Coltrane playing "After The Rain" from the stack.
The music places her arms around you.
It's almost May and you wonder if you're too old to go steady.

1 April 2010

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Dancing to the New Music

By E. Ethelbert Miller

March 15, 2010

Can contemporary poets create something today just as visionary? Must we find new words to use? Should we go back and reclaim the old ones? I would like to find a way to use "utopia" again. What if my new poems resemble text messages? What if the entire process changes—and the way I create? As the world fits in my hand or BlackBerry, how do I handle the power of language once again? What does it mean to be a poet during this time of Obama? If we witnessed a political milestone in world history in 2008, did it have a cultural counterpart? For those of us who failed to see Obama becoming president of the United States, what else did we fail to see? I wrote celebratory poems after Obama's election; in one I tried to be experimental, because I felt it was the only way I could structurally produce work that echoed the times.

I'm more aware these days of how my poetry explores the themes of religion and spirituality. Whereas W.E.B. Du Bois wrote about the twentieth century being shaped by the color line, it has become obvious that the twenty-first century will be influenced by religion. I've noticed already how Islamic and Buddhist terms have slipped into my poems like a sideman with a horn. The Islamic references I used in the late 1960s were an outgrowth of being influenced by the Black Arts Movement and Malcolm X. Today I have a better understanding of the faith, and I wrestle with the complexity of Islamic law. My concern with issues of gender encourages me to listen more to how Muslims are dealing with these matters. A number of my fellow poets are Buddhists, and I find a special kinship with them. I find the love poems I write are often influenced by certain concepts that I feel show a compassion for mankind. If my poems are going to be antiwar, I want them first to address the issue of love. I want them to have the strength to love.

As the new decade unfolds, I find myself more hesitant to recite in public. Too often the venues seem to cater to performance and entertainment. I worry at times about the poems that people dress in Halloween outfits. I'm curious about the politics of those who have decided to wear the mask. Words have the power to disrupt, to destroy as well as to decay.

The poet as gardener must have the skill to plant and the patience to wait for things to bloom. Yes, there can be a spring, but it requires hard work on bending knees. I want to be the type of poet who maintains a closeness to the earth. I want to celebrate what Whitman once celebrated. After all the civil wars inside our hearts, we must accept nothing less. I want to hear America singing once again. I want to dance to the new music.  

This article appeared in the March 15, 2010 edition of TheNation.

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Remembering King and The 'Fierce Urgency Of Now'

By E. Ethelbert Miller

Martin Luther King Jr. may be best remembered for his "I Have a Dream" moment, but too often overlooked are his efforts to fight poverty in America. Essayist E. Ethelbert Miller says that this Monday, we should remember King in his full context. His messages are relevant even — or especially — in 2010.

Back in the old days of vinyl albums and those sweet 45s, there was often a flip side of a hit song that you wanted to dance to more than anything else. It was the side not played on the radio but instead hummed perhaps during the privacy of one's shower.

When I listen to Martin Luther King's "I Have a Dream" speech, I'm always curious as to why many of us overlook the opening statements of his 1963 address. It's as if we only hear one side of his speech. Why do we quickly repeat the words "I have a dream," and not the words "America has given the Negro people a bad check which has come back marked 'insufficient funds.' But we refuse to believe the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation."

The fierce urgency of now is what Martin Luther King mentioned back in 1963. But how long is now?

I feel these words by King are also inspiring. King spoke of a debt before he spoke of the dream. This is important to remember because it shows his focus on economic conditions and problems in America. King was concerned not only with fighting segregation and discrimination, but also with fighting poverty. During his last year he was organizing a poor people's campaign to come to Washington, D.C.

It was the labor demands of sanitation workers that encouraged him to travel to Memphis in 1968. King knew it took hard work to fulfill a dream.

In 2010, poverty can disguise itself by hiding behind unemployment lines, housing foreclosures and the inability of a young person to afford a college education. When we look around our nation, many businesses are suffering from insufficient funds, as are too many families.

Once again, we wonder if the great vaults of America are still rich with opportunities for everyone.

The "fierce urgency of now" is what King mentioned back in 1963. But how long is "now"? Every year we cling dearly to the last lines of King's speech — because of their poetic beauty. King's words echo those of Langston Hughes and Walt Whitman. I believe he heard America singing.

Our hearts today are too large to simply contain sorrow songs and blues. In 2010, we need to know which side of the record is playing — the dream or the debt. When we celebrate King's birthday, we shouldn't just remember and examine one speech. The man, the minister, the prophet is too complex for that. Yet his "I Have a Dream" speech should be understood in its entirety. Next to his speeches, we should place his sermons. Here we will find King's compassion for his fellow man. Here we will continue to discover words that will provide us with the strength to love.

January 17, 2010

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After the War and After the Rain
                (for Daniela Ponce)

                                   By E. Ethelbert Miller

It is always raining somewhere—
And widows stand in front of windows watching it fall.
They wait for husbands and sons and lovers to return.
They hold rosaries and flowers, and they wait for love to bloom (again).
But it is raining and the earth is wet and the politicians and soldiers
walk across the earth turning everything to mud, and there is mud on
everyone's shoes and boots and the world is dirty and in need of a kiss.

The widows talk to the rain with tears on their tongues.
The widows speak the language of memory.
When they turn away from the windows they walk across the room and
undress. They place their garments of mourning on their beds. The widows
hope their black clothes will go to sleep and maybe dream (again). In dreams
the sun is always walking down the street, laughing and playing a flute of
light. The light strikes shoes and sandals and everything starts to glow
(again). In dreams the widows are young girls who have just discovered their
smiles. The terror of death has not been born. There is no sound of war
marching. There is only dancing everywhere on the earth. It is raining
somewhere else. It is raining outside our dreams.

16 September 2005

Torture?

We've been hearing a lot about waterboarding over the last year, but we rarely have any detail about exactly what it is or how it works. Watch this amazing video done by a reporter for Playboy who decided to see if he could last 15 seconds of waterboarding. HuffingtonPost

When Guppies eat their President:

The question of torture is getting a lot of attention in the media. Finally something to bog the Obama Administration down in. Look for the Democrats to make a mess out of this issue and lose control of government once again. Could you see this coming? Yep. Just go back to all those posters during the anti-war protests that wanted to convict Bush and Company for being war criminals. Throw some torture in front of this political lion and we are talking bones in the mouth.

This is not 24 and Jack Bauer's day in front of Congressthis is the US government during a time of economic crisis. Who from the Bush Administration are we going to punish? Are we going to place Bush, or Rice behind bars? The US nation was attacked on 9/11. Yes, I wanted the New England Patriots to win the Super bowl, but I'm not going to go back and say Eli Manning was in the grasp of a defender and so we have to change the score of the game. The game is overand so is the Bush Administration. Leave the lessons and the judgments to historians and not Congress or President Obama. If we fail to do this, we will once again divide this nation around issues of patriotism. That's a no win situation. Game over. E. Ethelbert Miller

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August Wilson's RADIO GOLF

I went down to The Studio Theatre last night. They are presenting August Wilson's RADIO GOLF. Wilson continues to be my favorite writer. In my home office I keep a picture of him, novelist Charles Johnson and myself. The photograph was taken in Seattle. Wilson had come to a poetry reading I was giving. Afterwards, we went out for a night of long conversations...

RADIO GOLF is the play Wilson completed in 2005, just a few months before his death. It's the last play in his legacy of ten plays about the African American experience. They are all set in Pittsburgh. This last play is very timely. It's about gentrification and a young black man running for mayor. How ironic to see Mayor Fenty's parents in the front row. Before the play begin I chatted with the mayor's father. I still cherish the beautiful letter he wrote me after he read my memoir FATHERING WORDS. I told him there was a sequel - THE 5TH INNING, and I would present him with a copy later this week.

In the play RADIO GOLF is my favorite actor/friend Fred Strother. He plays the "Elder" Joseph Barlow. This is Strother's play. When he is on stage he brings the electricity the same way those Buffalo Bill offensive lineman once blocked for OJ (the juice). Wilson's language is built for an actor like Strother. Here is Wilson at his creative best - Old Joe's words near the beginning of RADIO GOLF:

America is a giant slot machine. You walk up and put in your coin and it spits it back out. You look at your coin. You think maybe it's a Canadian quarter. It's the only coin you got. If this coin ain't no good then you out of luck. You look at it and sure enough it's an American quarter. But it don't spend for you. It spend for everybody else but it don't spend for you. The machine spits it right back out. Is the problem with the quarter or with the machine?

E. Ethelbert Miller 25 May 2009

  *    *    *    *    *

E Ethelbert Miller Interview, Part 1I’ll say publicly right now that African-American music is killing black people. But it’s not just the music. It is the very essence of who we are. And you see, what happens: you cannot—here is where the critics are wrong—you cannot justify this [violence and hatred in the music]. You cannot say this goes back to the tradition. This is not part of the tradition. It is not part of your tradition. Don’t link it and don’t claim it. It is not part of your tradition. You know, for example, you could not go out here and tell someone “Imma wash your mouth out with soap!” You know you can’t do that anymore. And you know, growing up, that when you heard those words, they struck a particular chord, a note that you heard, a boundary or something that established a certain moral principle to guide you. You did not use certain words because you knew what those words meant. You see? Or when you did use those words, you knew what those words meant. You might see your uncle or grandfather—one of the elders—and something happens and you hear them curse about maybe what the white people did to the church. And you understood then what that word meant. You see? And so what happened: for those of us preserving the traditions, to understand this particular point now, we have to defend the language and traditions, and we have not defended them well. Post No Ills

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E Ethelbert Miller Interview, Part 2The writers who we glorify now are like Yusef Komunyakaa. Yusef is quiet, but I don’t see Yusef speaking out. If we use him as a model, people say, “I want to write like Yusef Komunyakaa,” but where’s the politics? The politics might still come from someone like Sonia Sanchez, but she is like Baraka. We admire Sonia and Baraka because they came out of the Black Arts Movement. But where’s the apprenticeship? And that’s the word to use: apprenticeship. Not model, not workshop, apprenticeship. The difference between an apprenticeship and a workshop is that I will sit here and take only one person. You may watch me do something and then we would do something together. And every time I would correct it, but we would do it together. We might be making a wall together. You’re standing and I’m standing and we’re talking and stuff like that. I don’t see anybody workshopping their poems that way. Now you have people claiming, “That’s my student,” “That’s my teacher,” but that’s from a workshop. That’s not an apprenticeship. So if we put that word in, we have a different type of relationship. In the future, for us to produce these new type of writers, they will have to come out of a situation where there’s an apprenticeship that’s taken place. Post No Ills

 *   *   *   *

Miller has always believed that poetry serves a variety of roles. It can provide healing or catharsis, laughter or correction. It can bring abstract ideas down to the circumstances of one individual’s life, or an event or choice in a person’s day. His work can be poignant and comedic. It covers a range of topics including sports, jazz, politics, love and family. For further reading besides the poems posted here, I recommend  readers find First Light or Whispers, Secrets and Promises. For a glimpse of some of the ways he has supported the lives of other poets, there are his two excellent anthologies. In Search of Color Everywhere is a gorgeous volume assembling a variety of poets who write with love and affection on various aspects of African American life. It is the kind of book Miller wished he could have been introduced to when he was growing up.  The other, Beyond the Frontier, features African American writers who are some of the strongest voices in the generation after Miller. Both volumes group poetry thematically, rather than by the dates of the authors’ lives or their arbitrary place in the alphabet.   

His latest volume, How We Sleep on the Nights We Don’t Make Love (Curbstone, 2004) traverses perennial territory of love, loneliness and desire, but also breaks new ground. Galbus on Ethelbert

*   *   *   *   *

This memoir is literary and lyrical, a “standard” American story of how a man came to find and express his voice in spite of circumstances that might have easily thwarted his development. It is a bildungsroman keenly aware of the literary tradition of African American writers but also of ordinary people who manage to piece together a life. It acknowledges the price of spiritual and artistic poverty in a household within which a boy could become a writer.  Its power is derived from the poetic language, the depth of emotional texture, and the persistent mystification of making one’s way. Loving without lapsing into sentimentality, this is a view from someone actively engaged with twentieth-century American culture.  Fathering Words

   *   *   *   *

I really like Walter Mosley. I love his fiction. But what he wrote for the latest issue of The Nation (February 27, 2006) deserves closer scrutiny. The title of his essay is "A New Black Power." Of course this caught my attention. I loved Carmichael (Ture) when I first headed off to college. Next to my books by Marshall McLuhan was a copy of Black Power. Reading Mosley's essay, I suddenly realized it's graffiti. Something on a wall you read because it's there. I subscribe to The Nation. Graffiti is shorthand.

Mosley means well and so I respect him as much as I like Mariah's voice. But I'm not listening to Aretha and Mosley is not C.L.R. James or Walter Rodney. Instead of providing serious intellectual thought, his essay sounds like a response to the Gary Convention, or maybe Jesse Jackson after four years of the Carter presidency. Remember when folks were upset with the Democratic Party and didn't know what to do? Responses to A New Black Power

*   *   *   *   *

Hey R-Man:

As a literary activist the preservation of material is very important to me. I've created an archives on my website linking to places where I've deposited items. I currently work with 3 institutions:

George Washington University (Gelman Library)

Emory & Henry College

University of Minnesota

Many years ago I gave a talk at GW and mentioned the need for a literary archives for Washington writers. This is something GW is finally very serious about developing. They have contacted many Washington writers and have made arrangements for the depositing of material. I've given them about 12 boxes of stuff. Since my daughter attends GW Law School, I feel I have a connection to the institution.

Emory & Henry College in Virginia has some of my early papers, and important letters and correspondence from people like Alice Walker. I have an honorary degree from E&H.

Finally, I work with the Givens Collection (University Of MN). This is a wonderful African American Collection that many people don't know about. Excellent staff. Clarence Major gave his papers to Givens. I gave all my June Jordan correspondence to them a few years ago. Recently I've sent them my correspondence with Charles Johnson, and my files on Amiri Baraka, Lucille Clifton and August Wilson.

I mention all of this so that you might think about giving material to institutions that are serious about preserving literary history. You're making history - no need to lose it. :-)

Happy Holidays!  Wishing you the best in 2008.

E. Ethelbert Miller
www.eethelbertmiller1.blogspot.com

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AALBC.com's 25 Best Selling Books


 

Fiction

#1 - Justify My Thug by Wahida Clark
#2 - Flyy Girl by Omar Tyree
#3 - Head Bangers: An APF Sexcapade by Zane
#4 - Life Is Short But Wide by J. California Cooper
#5 - Stackin' Paper 2 Genesis' Payback by Joy King
#6 - Thug Lovin' (Thug 4) by Wahida Clark
#7 - When I Get Where I'm Going by Cheryl Robinson
#8 - Casting the First Stone by Kimberla Lawson Roby
#9 - The Sex Chronicles: Shattering the Myth by Zane

#10 - Covenant: A Thriller  by Brandon Massey

#11 - Diary Of A Street Diva  by Ashley and JaQuavis

#12 - Don't Ever Tell  by Brandon Massey

#13 - For colored girls who have considered suicide  by Ntozake Shange

#14 - For the Love of Money : A Novel by Omar Tyree

#15 - Homemade Loves  by J. California Cooper

#16 - The Future Has a Past: Stories by J. California Cooper

#17 - Player Haters by Carl Weber

#18 - Purple Panties: An Eroticanoir.com Anthology by Sidney Molare

#19 - Stackin' Paper by Joy King

#20 - Children of the Street: An Inspector Darko Dawson Mystery by Kwei Quartey

#21 - The Upper Room by Mary Monroe

#22 – Thug Matrimony  by Wahida Clark

#23 - Thugs And The Women Who Love Them by Wahida Clark

#24 - Married Men by Carl Weber

#25 - I Dreamt I Was in Heaven - The Rampage of the Rufus Buck Gang by Leonce Gaiter

Non-fiction

#1 - Malcolm X: A Life of Reinvention by Manning Marable
#2 - Confessions of a Video Vixen by Karrine Steffans
#3 - Dear G-Spot: Straight Talk About Sex and Love by Zane
#4 - Letters to a Young Brother: MANifest Your Destiny by Hill Harper
#5 - Peace from Broken Pieces: How to Get Through What You're Going Through by Iyanla Vanzant
#6 - Selected Writings and Speeches of Marcus Garvey by Marcus Garvey
#7 - The Ebony Cookbook: A Date with a Dish by Freda DeKnight
#8 - The Isis Papers: The Keys to the Colors by Frances Cress Welsing
#9 - The Mis-Education of the Negro by Carter Godwin Woodson

#10 - John Henrik Clarke and the Power of Africana History  by Ahati N. N. Toure

#11 - Fail Up: 20 Lessons on Building Success from Failure by Tavis Smiley

#12 -The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander

#13 - The Black Male Handbook: A Blueprint for Life by Kevin Powell

#14 - The Other Wes Moore: One Name, Two Fates by Wes Moore

#15 - Why Men Fear Marriage: The Surprising Truth Behind Why So Many Men Can't Commit  by RM Johnson

#16 - Black Titan: A.G. Gaston and the Making of a Black American Millionaire by Carol Jenkins

#17 - Brainwashed: Challenging the Myth of Black Inferiority by Tom Burrell

#18 - A New Earth: Awakening to Your Life's Purpose by Eckhart Tolle

#19 - John Oliver Killens: A Life of Black Literary Activism by Keith Gilyard

#20 - Alain L. Locke: The Biography of a Philosopher by Leonard Harris

#21 - Age Ain't Nothing but a Number: Black Women Explore Midlife by Carleen Brice

#22 - 2012 Guide to Literary Agents by Chuck Sambuchino
#23 - Chicken Soup for the Prisoner's Soul by Tom Lagana
#24 - 101 Things Every Boy/Young Man of Color Should Know by LaMarr Darnell Shields

#25 - Beyond the Black Lady: Sexuality and the New African American Middle Class  by Lisa B. Thompson

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Sex at the Margins

Migration, Labour Markets and the Rescue Industry

By Laura María Agustín

This book explodes several myths: that selling sex is completely different from any other kind of work, that migrants who sell sex are passive victims and that the multitude of people out to save them are without self-interest. Laura Agustín makes a passionate case against these stereotypes, arguing that the label 'trafficked' does not accurately describe migrants' lives and that the 'rescue industry' serves to disempower them. Based on extensive research amongst both migrants who sell sex and social helpers, Sex at the Margins provides a radically different analysis. Frequently, says Agustin, migrants make rational choices to travel and work in the sex industry, and although they are treated like a marginalised group they form part of the dynamic global economy. Both powerful and controversial, this book is essential reading for all those who want to understand the increasingly important relationship between sex markets, migration and the desire for social justice. "Sex at the Margins rips apart distinctions between migrants, service work and sexual labour and reveals the utter complexity of the contemporary sex industry. This book is set to be a trailblazer in the study of sexuality."—Lisa Adkins, University of London

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Greenback Planet: How the Dollar Conquered

the World and Threatened Civilization as We Know It

By H. W. Brands

In Greenback Planet, acclaimed historian H. W. Brands charts the dollar's astonishing rise to become the world's principal currency. Telling the story with the verve of a novelist, he recounts key episodes in U.S. monetary history, from the Civil War debate over fiat money (greenbacks) to the recent worldwide financial crisis. Brands explores the dollar's changing relations to gold and silver and to other currencies and cogently explains how America's economic might made the dollar the fundamental standard of value in world finance. He vividly describes the 1869 Black Friday attempt to corner the gold market, banker J. P. Morgan's bailout of the U.S. treasury, the creation of the Federal Reserve, and President Franklin Roosevelt's handling of the bank panic of 1933. Brands shows how lessons learned (and not learned) in the Great Depression have influenced subsequent U.S. monetary policy, and how the dollar's dominance helped transform economies in countries ranging from Germany and Japan after World War II to Russia and China today. He concludes with a sobering dissection of the 2008 world financial debacle, which exposed the power--and the enormous risks--of the dollar's worldwide reign.  The Economy

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The White Masters of the World

From The World and Africa, 1965

By W. E. B. Du Bois

W. E. B. Du Bois’ Arraignment and Indictment of White Civilization (Fletcher)

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Ancient African Nations

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Negro Digest / Black World

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The Death of Emmett Till by Bob Dylan  The Lonesome Death of Hattie Carroll  Only a Pawn in Their Game

Rev. Jesse Lee Peterson Thanks America for Slavery / George Jackson  / Hurricane Carter

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The Journal of Negro History issues at Project Gutenberg

The Haitian Declaration of Independence 1804  / January 1, 1804 -- The Founding of Haiti 

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