New Books in African American Studies

Is comedian and cultural critic Bill Cosby right–that black youth suffer from a cultural pathology that leads them to commit more crimes than their white counterparts? Is the remedy to the high rate of offending by African American men the “shape up or get shipped out” perspective? Is there more to African American offending than poor parenting or lousy schools? James D. Unnever is the co-author (with Shaun L. Gabbidon) of the new book A Theory of African American Offending: Race, Racism, and Crime (Routledge, 2011). This book builds on the assertion of sociologist and cultural critic W. E. B. Du Bois that theories of African American life, culture, and especially crime must deal with the unique circumstances and worldview of black people living in America. Unnever and Gabbidon take this assertion seriously as they develop a theory that the reading public in general and criminologists and lawyers specifically, indeed all associated with the criminal justice system, should read. I’ve recommended this book to colleagues at the collegiate level in African American Studies, as well as to junior high and high school teachers working in predominantly African American schools. This book is a must read! Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Miriam Thaggert’s study Images of Black Modernism: Verbal and Visual Strategies of the Harlem Renaissance (University of Massachusetts Press, 2010), is an exceptional contribution to the discussion of both modernism and the the period of intense African American artistic production known as the Harlem Renaissance. Black Modernism is particularly invaluable because it explores the techniques, devices, and politics of blackness as both a cultural and literary concept, even as it examines modernism in the same way. It is a well-written and meticulously researched study. The University of Massachusetts Press’s website explains that “Thaggert identifies and analyzes an early form of black American modernism characterized by a heightened level of experimentation with visual and verbal techniques for narrating and representing blackness. The work of the writers and artists under discussion reflects the creative tension between the intangibility of some forms of black expression, such as spirituals, and the materiality of the body evoked by other representations of blackness, such as “Negro” dialect.” I am especially enthralled with Thaggert’s deft analyses of James Weldon Johnson’s famous introductions to his volumes on African American poetry and African American spirituals. She handles the cross influences between black and white writers of the early period of the Harlem Renaissance with insight and respect. This undeniable academic study can easily be handled by educated critics, working outside of university environments. It also offers a heuristic investigation for those within the academy. Thaggert is a careful and intelligent writer, and she brings her fresh perspective alive in our hour-long discussion. Please listen in. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

If a mother raises her biologically male child as a daughter instead of a son, what would be the effects on the family, the community, the church? Indeed what would be the psychosocial, psychoemotional effects on the daughter once she discovers she’s a “he”? And what would all this reveal about the mother? What’s more, would the male-daughter’s brothers, father, friends come to agree with gender philosopher Judith Butler and accept the prevailing academic wisdom that gender and sex are social constructions, discourses that inform how we perform our lives? Or would they agree with some conservative Christian groups that a boy is a son. That’s how God made him, and that’s that! End of story. And what if the male-daughter is African American? What would race reveal about the social dynamics of gender in America? Novelist Daniel Black deftly explores the above questions and so much more in his lyrical new novel Perfect Peace (St. Martin’s Press, 2010). Not to give too much away, but Perfect is the name of the male-daughter; Peace is her family name. For seven years, she’s a girl. At age eight, she is told she’s a boy. What ensues disturbs the Peace family and the black Southern community where they live. Yet Perfect learns lessons that Daniel Black believes America as a whole must learn to face. There is never a dull moment in this intense interview. The discussion with Daniel Black is just as engaging as his fascinating novel. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

It takes a brave historian to take on the orthodoxy regarding the rise and fall of lynching in the United States. That orthodoxy holds that lynching in the South was a ‘system of social control’ in which whites used organized terror to oppress blacks. You can find this thesis in numerous monographs, textbooks, and in the popular press. It’s one of those things “everybody knows.” But according to Robert Thurston’s provocative new book Lynching: American Mob Murder in Global Perspective (Ashgate, 2011) the standard ‘social control’ line is inadequate. It cannot explain when lynching started or when it ended; why lynching occurred in some places often and others never; and why the period in question witnessed a considerable amount of intra-racial lynching. The ‘social control’ thesis fails because it tries to put a square peg (the evidence) in a round hole (the concept of systematic oppression through terror). Thurston shows that lynching, though hardly accidental, was simply too occasional and too random to be called ‘systemic.’ He argues that lynching was–and remains where we find it today–a collective response to political instability, especially instability caused by a lack of legitimate and effective authority. When people don’t trust the sheriff or there is no sheriff, they are going to take matters into their own hands. This sort of ‘rough justice’ is wildly imperfect: the mob often gets the wrong man. And it is not only about justice: the mob often cynically takes the chaos provided by ‘rough justice’ to settle old scores, some of which may be racist (Post-Reconstruction America) or classist (Revolutionary Russia) or both. But there is no ‘system’ here, except in the sense of a widespread pattern of collective action triggered by a reasonably common political situation, namely the lack of legitimate, effective authority. Thurston’s emphasis on authority (or the lack of it) in explaining lynching enables him to present a new thesis as to why lynching abated considerably in the U.S. after 1892. The primary reason, he says, is that Whites succeed in creating a true system of social control, namely, Jim Crow. What was chaotic and unstable became structured and steady, though in a manner that to us (rightly) seems manifestly unjust. Thurston also points to other factors that contributed to the decline of lynching, for example the rising status of blacks in the South and changing international attitudes about race. These factors–Jim Crow, black advancement, anti-racism–did not destroy a ‘system of social control.’ They simply made ‘rough justice’ impracticable for and  unacceptable to most white and black citizens. This is an important book and should be widely read and discussed. I hope that Ashgate will bring out a paperback edition, or that the author will be persuaded to write and publish a shorter, popularly-oriented version. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In his new book Betrayal: How Black Intellectuals Have Abandoned the Ideals of the Civil Rights Era (Columbia University Press, 2008), Houston A. Baker makes the argument that many contemporary black public intellectuals, otherwise known as African American “academostars,” are self-serving individuals who distort the message of Dr. Martin Luther King, Jr. and belie the overall aims of the Civil Rights movement of the 1950’s and 60’s. He calls out five main figures: Shelby Steele, John McWhorter, Henry Louis Gates, Jr., and even Cornel West and Michael Eric Dyson. Betrayal has been described both as a “brave and funny vernacular broadside” and “an important and absorbing meditation” on contemporary discussions of American politics. This book is immensely important not only for the way it clarifies the often misconstrued and misapplied rhetoric of Dr. King, but also the way in which it takes pains to historicize the plight of African Americans. I am personally persuaded by this book, and I highly recommend it. While Betrayal was published in the same year as the election of America’s first president of African descent, it offers us a framework for understanding our “now”: the upcoming 2012 election season, much of the Tea Party rhetoric, and even the political challenges that Barack Obama faces in relation to contemporary racial conflict. Baker is a distinguished university professor of English at Vanderbilt University, and he is a well-known literary and cultural critic, focusing on African American arts and politics. He is also a creative writer, with a recently published volume of poetry entitled Passing Over. I hope to have him on the show again to discuss that book. Till then, I’m certain you’ll be thoroughly engaged in this lively interchange. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Frank Dobson, Jr.‘s Rendered Invisible: Stories of Blacks and Whites, Love and Death (Plain View Press, 2010) is a single-authored collection of fiction. It includes the opening, gripping novella “Rendered Invisible,” which gives the book its title. That’s followed by five notable short stories: “Black Messiahs Die,” about a black college basketball player who is murdered by police officers; “Homeless M.F,” about a homeless, ex-convict who is picked up by a rich woman for sex; “Junior Ain’t,” which features a fatherless boy who is antagonized by his wealthier, two-parent cousins; “Another Continent,” a study of unrequited love between professors; and “It Falls between,” a meditation on white racial anxiety and its affect on a working class black man. The stories are nice complements to the opening “Rendered,” the fictionalized account of the factual serial killing of black men in 1980 in Buffalo, New York. Dobson discussed his book, black life, the role of literature in society, and why he loves his job as an educator and writer. Listen in. You’ll enjoy it. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Deborah Whaley’s new book Disciplining Women: Alpha Kappa Alpha, Black Counterpublics, and the Cultural Politics of Black Sororities (SUNY Press, 2010) may be the first full-length study of a Black Greek-Letter Organization (BGLO) written by a non-BGLO member. But that’s not the only reason to read her book. Whaley takes an interdisciplinary approach to the study, which includes a personal rumination on her family’s relation to BGLO’s, interviews with sorority sisters, ethnographic participant observations, and literary and film analyses. Her foray into popular black culture is enriched by deep critical engagement with such texts as Spike Lee’s canonical film “School Daze” and the recent cinematic representation of Black Greek life “Stomp the Yard.” Whaley takes her subject matter seriously, but not so much so that her book lacks wit and charm. Indeed, her prose is just as pleasant, inviting, and engaging as she is in the interview. Check it out. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

UPDATE: Nikky Finney’s Head Off and Split has been named a finalist for a National Book Award. Congratulations, Nikky, from the folks at New Books in African American Studies and the New Books Network!) Poet Nikky Finney’s new book Head Off & Split (TriQuarterly Books/Northwestern University Press, 2011) has made an immediate splash, receiving well-deserved critical acclaim from the literary world and wide attention from the reading public. Although her book has only been out a few months, it has already been widely reviewed, with Finney featured on the cover of the prestigious literary journal Poets and Writers. Finney is among the who’s who of writers, a poet about whom Nikki Giovanni says, “We all, especially now, need.” And yet Finney is unpretentious, caring, and inspirational. All this is illustrated in her interview for New Books in African American Studies, where she discusses the autobiographical impulse behind the book’s title, pays homage to black womanhood, worries about black boys, and she speaks on her love of love, of life, of words, of laughter. Finney is deep. And while that description might seem trite, think metaphorically, think still waters. There is much to mine in both Head Off and Split and in this interview. Finney has a generous spirit, giving much of herself to the world. But don’t be fooled. She doesn’t give all away. She reserves a little for herself, hones her spirit, cultivates it, as any good writer would. Then she lays some aesthetics on it, on what she has kept for herself, and blesses us, the world, when we’re ready. That’s what she has done in her latest volume. Enjoy it. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

With the election of Barack Obama, the first U.S. president of African descent, many people believed that America had ushered in an era of post-racial harmony. Harvey Young is not one of them. When it comes to the racial experience of black people, particularly, though not exclusively, of black men, Young takes James Baldwin’s sage advice: “Take no one’s word for anything, including mine–but trust your experience.” I interviewed Young about his new book Embodying Black Experience: Stillness, Critical Memory, and the Black Body (University of Michigan Press, 2010). In it, Harvey examines five “spectacular events,” including an opening autobiographical one, that persuasively reveal his argument “that embodied experiences develop, in part, from racial (mis)recognition and spotlight how an idea of the black body materially affects actual bodies” (11). In other words, Young points out how despite the multifarious identities that constitute what we know as the “African American” identity (i.e., it ain’t monolithic), all black bodies in America are subject to “compulsory visibility” (12). This hyper and unavoidable visibility didn’t begin yesterday. It is historical and is recorded in what Harvey calls the “repository of experience” (23), as revealed in a range of artifacts that he examines. These include such things as daguerreotypes of black captives to theatrical productions such as Susan Lori Parks play “Venus” (based on the “Hottentot Venus”). What I learned from Harvey’s book is that being recognized as black is certainly not always negative. But when it is, and it is often enough, it’s very painful. And I would say, as I said to Harvey, that he has written one of the best books on contemporary identity politics in this still “retrograde racial” America. His book seeks to diminish the causes of that pain. Listen in. Read the book. And let me know your opinion. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

When I arrived at college in the early 1980s, drugs were cool, music was cool, and drug-music was especially cool. The coolest of the cool drug-music bands was The Velvet Underground. They were from the mean streets of New York City (The Doors were from the soft parade of L.A….); they hung out with Andy Warhol (The Beatles hung out with Maharishi Mahesh Yogi…); they had a female drummer (The Grateful Dead had two drummers, but that still didn’t help…); and, of course, they did heroin. Or at least they wrote a famous song about it. We did not do heroin, but we thought that those who did–like Lou Reed and the rest–were hipper than hip. I imagine we would have done it if there had been any around (thank God for small favors). We thought we had discovered something new. But as Eric C. Schneider points out in his marvelous Smack: Heroin and the American City (University of Pennsylvania Press, 2008), the conjunction of music, heroin, and cool was hardly an invention of my generation. The three came together in the 1940s, when smack-using bebop players (think Charlie Parker) taught the “Beat Generation” that heroin was hip. Neither was my generation the last to succumb to a heroin fad. The triad of music, heroin, and cool united again in the 1990s, when drug-addled pop-culture icons such as Jim Carroll (The Basketball Diaries), Kurt Cobain (Nirvana), and Calvin Klein (of “heroin chic” fame) taught “Generation X” the same lesson. History, or at least the history of heroin, repeats itself. For white, middle-class folks like me heroin chic was an episode, a rebellious moment in an otherwise “normal” American life. But as Schneider makes clear, the passage of heroin from cultural elites to the population at large was not always so benign, particularly in the declining inner-cities of the 1960s and 1970s. Here heroin had nothing to do with being cool and everything to do with earning a living and escaping reality. For millions of impoverished, hopeless, urban-dwelling hispanics and blacks, heroin was a paycheck and a checkout. The drug helped destroy the people in the inner-city, and thus the inner-city itself. In response to the “heroin epidemic” of the 1960s and 1970s, the government launched the first war on drugs, focusing its energy on “pushers.” But there were no “pushers” because–and this is the greatest insight in a book full of great insights–pushing was not the way heroin use spread, either among middle-class college kids or the down-and-out of New York, Chicago, and Philadelphia. No one pushed heroin on anyone. Rather, users taught their friends how to use; in turn, those friends–now users–taught their friends, and so on. Heroin stealthily spread through personal networks. The only part of the process that was visible was the result: in the case of suburban college kids, bad grades and rehab; in the case of poor urban hispanics and blacks, crime and incarceration. Not surprisingly, when the heroin “epidemic” ended, it was not due to the war on drugs. Heroin simply fell out of fashion, in this case being replaced by another fashionable drug, powder and crack cocaine. Today we are fighting cocaine just as we fought heroin, and, by all appearances, with similar success. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies