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I have been writing and teaching about African American poetry and poetics for more than two decades. My passion began when I kept discovering long-lost poems that were published once, in Black newspapers, and then forgotten. I wondered why I had never learned about Gwendolyn Brooks in school, though I’d read about e.e. cummings and Robert Frost. Once I stumbled on the fact that Claude McKay discovered cummings, I realized how much the questions of influence and power aren’t really central topics in thinking about the genealogy of Black poets and their influence on each other and on poetry in general.
Everyone should read this book and own this book, which contains key poems from A Street in Bronzeville, Annie Allen (the book for which Gwendolyn Brooks won the Pulitzer Prize in 1950), The Bean Eaters, as well as new poems. Brooks’s sonnets are like a knife in a heart made vulnerable. I could read these poems—especially “The Sundays of Satin-Legs Smith”—again and again. Gwendolyn Brooks was the best American poet of the twentieth century, bar none.
Selected Poems is the classic volume by the distinguished and celebrated poet Gwendolyn Brooks, winner of the 1950 Pulitzer Prize, and recipient of the National Book Foundation Medal for Distinguished Contribution to American Letters. This compelling collection showcases Brooks's technical mastery, her warm humanity, and her compassionate and illuminating response to a complex world. This edition also includes a special PS section with insights, interviews, and more—including a short piece by Nikki Giovanni entitled "Remembering Gwen."
By 1963 the civil rights movement was in full swing across the United States, and more and more African American writers were increasingly outspoken…
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
I’ve written about family for years, first in poems and then in nonfiction. I was estranged from my father at the time of his death from alcoholic cirrhosis, and I wrote a memoir to think through this relationship and the way we use narrative to make sense of our families. Everyone has secret histories, and they’re endlessly fascinating. For 15 years, I taught at Stanford University, where I began a course called Family Stories. People came to write their own fundamental, funny, difficult stories in the company of others. I still love teaching this kind of writing at my new college and in my private classes.
By the time I reached Native Guard’s central crown of sonnets, Trethewey already had me with her blues poem and palindrome.
I love the formal-mindedness of this collection—also its authority and fearlessness. I admire the way Trethewey unites personal history (the speaker’s memories of childhood; her experience as a woman of color; her mother’s tragic death) and collective history (the unremembered Native Guard; systemic racism; the legacies of slavery and the Civil War).
Her poems help us ask the big questions together: what memories are held or erased by a community of people? How might collective grief inform private grief and vice versa? What happens if our stories are not remembered, and what work can writing do to help us not forget? And also: “Incident” is one of the best pantoums out there.
Winner of the 2007 Pulitzer Prize for poetry and former U.S. Poet Laureate, Natasha Trethewey's elegiac Native Guard is a deeply personal volume that brings together two legacies of the Deep South. The title of the collection refers to the Mississippi Native Guards, a black regiment whose role in the Civil War has been largely overlooked by history. As a child in Gulfport, Mississippi, in the 1960s, Trethewey could gaze across the water to the fort on Ship Island where Confederate captives once were guarded by black soldiers serving the Union cause.? The racial legacy of the South touched Trethewey's…
I have been writing and teaching about African American poetry and poetics for more than two decades. My passion began when I kept discovering long-lost poems that were published once, in Black newspapers, and then forgotten. I wondered why I had never learned about Gwendolyn Brooks in school, though I’d read about e.e. cummings and Robert Frost. Once I stumbled on the fact that Claude McKay discovered cummings, I realized how much the questions of influence and power aren’t really central topics in thinking about the genealogy of Black poets and their influence on each other and on poetry in general.
Kevin Young’s anthology is the latest in a long line of Black poetry anthologies; the first was James Weldon Johnson’s Book of American Negro Poetry (1922), which Young duly acknowledges. Most of Young’s choices I agree with; some I don’t (at least one of Paul Laurence Dunbar’s great sonnets should have been included); but in the main it is a terrific anthology of poets historical up to the present day. I counted almost 40 sonnets among the poems included. Readers who are interested in the dates the poems were published can turn to an extensive set of notes in the back, which are really helpful.
A literary landmark: the biggest, most ambitious anthology of Black poetry ever published, gathering 250 poets from the colonial period to the present
Across a turbulent history, from such vital centers as Harlem, Chicago, Washington, D.C., Los Angeles, and the Bay Area, Black poets created a rich and multifaceted tradition that has been both a reckoning with American realities and an imaginative response to them. Capturing the power and beauty of this diverse tradition in a single indispensable volume, African American Poetry reveals as never before its centrality and its challenge to American poetry and culture.
AcClaim is a dark, high-society romance about Beatrix Winslow-Hale, a successful romance author who believes desire can be negotiated and controlled—until enigmatic billionaire Dorian Wolker crosses the line between consensual surrender and violation. Publicly humiliated and emotionally shattered, Beatrix turns to Manon de Rochemaure, her fiercely loyal best friend and…
I have been writing and teaching about African American poetry and poetics for more than two decades. My passion began when I kept discovering long-lost poems that were published once, in Black newspapers, and then forgotten. I wondered why I had never learned about Gwendolyn Brooks in school, though I’d read about e.e. cummings and Robert Frost. Once I stumbled on the fact that Claude McKay discovered cummings, I realized how much the questions of influence and power aren’t really central topics in thinking about the genealogy of Black poets and their influence on each other and on poetry in general.
Marilyn Nelson’s poetry is staggeringly good, particularly the way she writes formal poems—sonnets!—in a humble voice, like her sonnet “From an Alabama Farmer.” Nelson’s poem “To the Confederate Dead,” with its epigraph by Allen Tate is a better poem than Robert Lowell’s “For the Union Dead,” with which it is in conversation. Nelson’s ‘wreath’ of sonnets, “A Wreath for Emmett Till,” is simply sublime.
Conjuring numerous voices and characters across oceans and centuries, Faster Than Light explores widely disparate experiences through the lens of traditional poetic forms. This volume contains a selection of Marilyn Nelson's new and uncollected poems as well as work from each of her lyric histories of eighteenth-, nineteenth-, and twentieth-century African American individuals and communities.
Poems include the stories of historical figures like Emmett Till, the fourteen-year-old boy lynched in 1955, and the inhabitants of Seneca Village, an African American community razed in 1857 for the creation of Central Park. ""Bivouac in a Storm"" tells the story of a group…
I was born in Scotland. I grew up in Scotland. The family house contained no television, but it did contain a vast wealth of books, music and life. As a result, I learned to read at a really young age then set about working my way through my father’s myriad books. Stories, songs and Nature have always been my solace. In addition to being Scottish, the five books on my list are so innovative that they transcend mere words on a page; there’s a lyrical quality to the lines, music in their cadence, and animals (non-human ones – the best kind!) infusing the stories with deeper significance and subtext.
As an 11-year-old I read Wee Macgreegor for the first time and thought it was the funniest book ever written.
I cried laughing at several parts. The dialogue sparkles with old-Glasgow wit and wisdom. John Joy Bell’s love of the Scots dialect is evident throughout.
The book is a collection of tales featuring the titular character, a wonder-filled wee boy growing up in Glasgow during the 1930s. There’s an endearing innocence in the writing. Playfulness too. It’s a glorious snapshot of Scottish life a century ago.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.
This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank…
I love second-chance romances and I am not in my twenties anymore; so I wrote what I wanted to read. Now, I've found other authors who write 35+, characters who have lived, been hurt, and moved on in life. I do read New Adult or younger than 35 characters and often, really smutty, erotic books as I need to get out of my head sometimes. I love Nora Roberts, Claudia Burgoa, Catharina Maura, Jolie Vines and I'll one-click quite a few indies.
Hard Nox is set in Scotland and is brilliantly written. It's the start of series two and I fell in love with the world that Jolie had built. I did put this book down a few chapters in to find the first book of the first series. I wanted to read them in order and I'm so glad I did. It was hard at the time to find books showing the Scots dialect and Jolie does it well. So much so, I'm one of her ARC readers and I have started collecting the paperback copies. This is my favourite of all her books.
Isobel: Lennox is one hot Highlander. Muscles bulging on thick arms. A smirk and a bossy swagger. In a kilt, he's devastating. To everyone but me. As teenagers, he crashed my car, stole my first kiss, then walked away with another woman. I'll be damned if my brother's best friend is getting an easy ride back into my life.
Nox: Isobel is a menace. She races cars and has tattoos in places I can't even imagine. I shouldn’t want her. But I can't forget the one kiss we shared as teenagers.…
"A profound and often affecting story of resilience." —Kirkus Reviews
The Silent Women, an extraordinary novel inspired by the real women of Oak Ridge, Tennessee—the Manhattan Project’s “Secret City," where thousands kept the deadliest secret of World War II—is a sweeping, absorbing, and deeply human story about chosen…
I'm a huge fan of Revelation which tops my list of favorite books of the Bible. I recently retired after 47 years as a pastor in the United Church of Christ. How many times have I read Revelation and preached on this marvelous book? How many times have I read and heard interpretations, and misinterpretations? The answer, a lot! I finally decided I had to write my own book. I study Revelation like digging in a field for buried treasure. The more digging, the more riches I find! I am a graduate of Eastern Mennonite University where I majored in Bible, and a graduate of Union Presbyterian Seminary, Richmond, VA., with a Master of Divinity.
I was intrigued by Blount's comparison between the African American experience and the situation of the first-century church. I gained better understanding of Revelation’s purpose, which I state in my book: “To enable and empower the church’s resistance.” I want this book sung and accompanied by a marching band. I want to hear, “we shall overcome” and “nothing will turn us around.” I want to clap my hands and add my voice in witness to the good news of Jesus! That’s what this book does for me!
In this accessible and provocative study, Brian Blount reads the book of Revelation through the lens of African American culture, drawing correspondences between Revelation's context and the long-standing suffering of African Americans. Applying the African American social, political, and religious experience as an interpretive cipher for the book's complicated imagery, he contends that Revelation is essentially a story of suffering and struggle amid oppressive assimilation. He examines the language of "martyr" and the image of the lamb, and shows that the thread of resistance to oppressive power that runs through John's hymns resonates with a parallel theme in the music…
I am a former network television executive who is fascinated by the history of mass media and have authored or co-authored nine books and many articles on the subject. These include The Complete Directory to Primetime Network and Cable TV Shows, 1946-Present and Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919. I’m particularly drawn to subjects that are underexplored, or which seem to be greatly misunderstood today. I quickly learned that you are not likely to earn a living from writing, so I decided to write about subjects I cared about, and hopefully add something to our knowledge of cultural history. I became more aware of what the professional minstrel show was really like while researching Lost Sounds, based on original accounts, recordings, and films.
A collection of essays by leading scholars in the field exploring various aspects of the minstrel show in the 1800s, including its portrayal of women, social commentary, its music, and the prominent participation of African-Americans who staged their own minstrel shows. Good, concise treatment of many elements of the genre.
As the blackface minstrel show evolved from its beginnings in the American Revolution to its peak during the late 1800s, its frenetic dances, low-brow humor, and lively music provided more than mere entertainment. Indeed, these imitations and parodies shaped society's perceptions of African Americans-and of women-as well as made their mark on national identity, policymaking decisions, and other entertainment forms such as vaudeville, burlesque, the revue, and, eventually, film, radio, and television. Gathered here are rare primary materials-including firsthand accounts of minstrel shows, minstrelsy guides, jokes, sketches, and sheet music-and the best of contemporary scholarship on minstrelsy.
I am a former network television executive who is fascinated by the history of mass media and have authored or co-authored nine books and many articles on the subject. These include The Complete Directory to Primetime Network and Cable TV Shows, 1946-Present and Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919. I’m particularly drawn to subjects that are underexplored, or which seem to be greatly misunderstood today. I quickly learned that you are not likely to earn a living from writing, so I decided to write about subjects I cared about, and hopefully add something to our knowledge of cultural history. I became more aware of what the professional minstrel show was really like while researching Lost Sounds, based on original accounts, recordings, and films.
Published almost half a century ago (1974), but still the best introduction to the minstrel show as it emerged in America in the 1840s. Describes the various elements of a minstrel show, how it was originally received, and how it materially evolved in the late 1800s, but stops at the end of the century. A good, readable overview of this highly popular form of entertainment as it was originally performed on stage.
Broken Boots, Redeemed Soul: A Veteran’s War with Sin and Salvation
by
Brian Lofton,
Broken Boots, Redeemed Soul: A Veteran’s War with Sin and Salvation, is a raw and faith-centered memoir about life after military service—and the internal battles many never see. Brian Lofton shares his journey through addiction, shame, identity loss, and spiritual distance, revealing how the hardest struggles often begin after…
As a person who reads solely for pleasure regardless of research, I make it a mission while writing to read books I actually enjoy on topics I wanna learn more about. I chose the books on this list because I’m also a person who reads multiple books at once in various genres, it keeps me honest; aware of holes and discrepancies in my own work and pushes me towards some semblance of completion. All the writers on this list do multiple things at once and I admire their skill and risk in coupling creativity with clarity.
Sometimes I need a book that will inspire me not to continue writing, but to start; kinda like when I binge watch YouTube book talks—that’s the feeling this book brings over me—inspired. It’s a book that helps me write anything because I’m a person who struggles with—yet craves the ability to— strip a piece as bare as possible. Strip a story of its fluff and dissect its roots. I need to know what to save for later, and Gornick expressing the difference between situation and story is something I always go back to in order to help declutter my work.
A guide to the art of personal writing, by the author of Fierce Attachments and The End of the Novel of Love
All narrative writing must pull from the raw material of life a tale that will shape experience, transform event, deliver a bit of wisdom. In a story or a novel the "I" who tells this tale can be, and often is, an unreliable narrator but in nonfiction the reader must always be persuaded that the narrator is speaking truth.
How does one pull from one's own boring, agitated self the truth-speaker who will tell the story a personal…
