ChickenBones: A Journal
for Literary & Artistic African-American Themes
The average American is living beyond their means and is represented by a
government that is living beyond its means. That is why the American people
and their representatives are committed to nurturing one bubble after another.
Books by Wilson Jeremiah Moses
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Aquinas, Smith, Jefferson, Malthus, Marx, Keynes By Wilson J. Moses October 19, 2008
With capitalist political economists currently under a cloud I’m a little dismayed Wilson J. Moses [in “Joe the Plumber and Adam Smith“] feels it is necessary to throw dirt on Marxists. . . . The housing mortgage crisis, in my opinion, is mischaracterized by Wilson as the essence of the Wall St. debacle. It is only part of the problem, as the recent disclosure of the derivatives abuses clearly indicates.Damu
Of course, I recognize the usefulness of concepts developed by Marx, such as opposition of class interests, labor theory of value, and surplus value. Furthermore, I am capable of a Marxian moral outrage. I see Marx relating to Smith as Newton related to Galileo. Newton and Marx stood on the shoulders of giants, as all progressive thinkers inevitably stand on the shoulders of their predecessors. Smith rescued Thomas Aquinas‘ labor theory of value along with its ethical implications from the French physiocrats and their slippery American disciple Thomas Jefferson, who tried to kill it. Thus Jefferson came to belittle Smith, because Jefferson was uncomfortable with Smith’s labor theory of value. And Jefferson held artisans, craftsmen, and workmen, like Joe the Plumber, in profoundest contempt.
Adam Smith, along with Malthus, Ricardo, Marx, and Keynes, has been rejected by Bush, Paulson, Bernanke and McCain. Obama is not much better, although he sometimes makes some feeble noises that sound something like Marxist or sometimes Keynsean ideas. Keynesean inspired projects such as the New Deal’s WPA derive, of course, from the proposals of Malthus for public works projects. Damu makes an obvious and undeniable point regarding the trading of securitized mortgages and derivatives and he might have added credit default swaps. Of course the problem has much to do with the trading of these exotic instruments. That is obvious! Everyone knows that, and nobody denies it. But this fact does not exclude the reality that Paulson and Bernanke are committed to reinflating the price of housing. This reinflationary policy, according to Soros, Buffett, Stiglitz, and Michael Kinsley, will have its consequences down the road in terms of making housing less affordable and destroying the savings of pensioners. Neither Joe the Plumber nor the U.S. government wants to accept the fact that if you continue to borrow and spend, you will inevitably push up prices to fantastic levels. This process is called a bubble. The average American is living beyond their means and is represented by a government that is living beyond its means. That is why the American people and their representatives are committed to nurturing one bubble after another. But when will all these bubbles burst? Adam Smith and John Maynard Keynes both understood the necessity of taxation. Both understood, as did Marx, that the interests of capital and labor are non-identical. These facts are studiously avoided by current politicians who have neither the courage to follow Smith and let the bubble burst, nor the courage to follow Keynes and raise taxes to pay for it. This increases the dire possibility of some perversion of Marxism, such as National-Socialism. Paulson and Bernanke have already taken the first steps, with the advice and consent of Congress. Americans and their elected representatives operate completely without ideology, and Joe the Plumber continues to believe that he can realize the “American dream” by perpetually increasing both his personal debt, and that of the Federal government.
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Black Men on Masculinity and the American Dream
Edited by Don Belton
It is rare in America for African-American men to have the opportunity to express who they are, what they think, or how they feel. As the nemesis in the American psyche, they have been silenced by an image that is at once celebrated and maligned. In this first anthology of contemporary African-American men’s writing, black men share their experiences as the revered and reviled of America. Through the voices of some of today’s most prominent African-American writers, including August Wilson, John Edgar Wideman, Derrick Bell, and Walter Mosley, Speak My Name explores the intimate territory behind the myths about black masculinity. These intensely personal essays and stories reveal contemporary black men from the vantage point of their own lives – as men with proper names, distinctive faces, and strong family ties.
Writing about everything from “How it Feels to Be a Problem” to relationships between fathers and sons, these men reveal to us both great courage and in an amazing love for each other and themselves. In a stunning tribute to a centuries-old brotherhood of heroes, black men come together to challenge America finally to see them as individuals, to hear their long-silenced voicesto speak their names.
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This diverse anthology, mainly of original essays, serves as an excellent counterpoint to media stereotypes of black men. Topics include black male images, relations with women, family life and heroism. Some favorites: soft-voiced scholar Robin D.G. Kelley recounts how his newly shaved head scared people; novelist Randall Kenan recalls a mysterious, kind and loving mentor; Quinn Eli faces the tendency of black men to accuse black women of not being supportive; filmmaker Isaac Julien and poet Essex Hemphill debate whether black unity can include gay men; novelist Walter Mosley muses about why his PI protagonist, Easy Rawlins, needs the backup of the remorseless killer Mouse to survive in an oppressive world. Belton, a former reporter for Newsweek who teaches at Macalester College, contributes his own touching effort, which treats the gap between himself and the ghetto-trapped nephew he loves.Publishers Weekly
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Black masculinity has built and shaped America. It is an old story which our fathers taught us; it is measured by their quiet dignity as well as their fears. What is heroic about Speak My Name is the fact that the contributors are men who decided to become writers. They all made the decision to use words instead of fists. They are writers shaped by the 1960s, like Arthur Flowers, who writes:
And, understand, the 60s were more than street battles or sex, drugs and rock ‘n’ roll, the 60s were about commitment. We cared. We tried. It was important (and do-able) for us to make a better world. It was important to save the race. And it still is.
While our society still attempts to come to grips with the lyrics of tappers, Don Belton’s book is a gift which offers insight into how a few Black men think and feel. For sisters who are still waiting to exhale, it serves as testimony that there are good men in the world and we only have to speak their names.
Belton’s purpose for editing the volume was to “experience a richer sense of community and communion among other Black male writers.” This is evident in the interview conducted by Lewis Edwards of Albert Murray. Here, a young writer sits at the feet of an elder with an acknowledgment of inheritance and a respect for tradition. When Murray (author of The Omni-Americans and Train Whistle Guitar) talks about his friendship with Ralph Ellison during their days at Tuskegee, he conveys to Edwards how two Black men enjoyed reading and developing their intellect.
Speak My Name , according to Belton, is structured in “jazz music’s compositional model of theme and variation, giving my contributors a series of extended solos that develop toward visions of masculinity as a struggle for hope.” Belton divides his book into five sections, although these categories are unnecessary. One can enjoy the entire volume the way one appreciates the old Ornette Coleman “Free Jazz” album; just open the door to the studio and let the brothers play. The music will find its own center.
Black Issues in Higher Education, March 7, 1996 by E. Ethelbert MillerFindArticles
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By Hazel V. Carby
Race men is a term of endearment used by blacks to signify those high-achieving African American men who “represent the race,” disproving bigoted notions of black inferiority. In this engaging study, Yale African American Studies Professor Hazel V. Carby seeks to ask “questions about various black masculinities at different historical moments and in different media: literature, photography, film, music, and song.” She does so by discussing the lives and works of myriad types of race men. Frederick Douglass’s uncompromising fight against slavery, W. E. B. Du Bois’s masterful The Souls of Black Folk, Martin Luther King‘s nonviolent struggles, and Malcolm X’s fiery rhetoric articulate the intellectual-political prisms of black activism, for example, while actor Danny Glover represents the dilemma of the black/white sidekick and the fight for a more multidimensional Afro-American image.
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Carby compares Toussaint L’Ouverture, the ex-slave who liberated Haiti from the French in the 19th century, to Trinidadian writer C.L.R. James, whose Marxist interpretation of the Haitian Revolution, the Black Jacobins, unveiled the complexities of colonialism, class, and the sexist aspects of radical black leadership. She discusses jazz icon Miles Davis‘s quest for freedom and his misogynistic persona articulated in his autobiography, then praises science fiction writer Samuel R. Delany’s Motion of Light in Water as “an effective counterpoint to Miles … a magnificent attempt to reject the socially created obstacles separating desire from its material achievement, and in the process demolishing and transcending the limitations of heterosexual norms.”
Indeed, for Carby the major flaw of race men is that their upholding of “the race” does not prominently address the concerns of African American women as well.Eugene Holley Jr.
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In a discussion of “The Body and Soul of Modernism” Carby reads Nicolas Murray’s nude photographs of Paul Robeson, as well as black male nudes by other European and American artists, and argues that for these modernists the black male body represented “essentialized masculinity.” However, because the black subject was unable to “gaze back at the viewer,” these photographic texts reproduced “the unequal relation of power and subjection of their historical moment” in the early twentieth century. Carby also discusses Robeson’s roles in Eugene O’Neill’s Emperor Jones and All God’s Chillun Got Wings, concluding that, in contrast to the character Robeson portrays in Oscar Micheaux‘s film Body and Soul, O’Neill utilized a “strategy of inwardness” to present racialized emotional conflicts for Robeson’s character, rather than outward resistance and rebellion. Carby’s notes that, with his expanding political consciousness and increased commitment to the advancement of the working classes worldwide in the 1930s, Robeson rejected these types of roles. Unfortunately, how these ideological changes were reflected in Robeson’s racial consciousness (was Robeson a “race man”?) are left unexplored.
Carby describes the authentic and inauthentic nature of the relationship between ex-convict and folk singer Huddie (Leadbelly) Ledbetter and folklorist John Lomax and his son Alan. She believes that this unusual partnership demonstrated an attempt to use “the aesthetics of the folk” to create a “fictive ethnicity of blackness” that allowed the incorporation of potentially threatening black males into the national community. For C. L. R. James the cricket field in England’s colonial territories not only was the space where “ideologies of masculinity” were put to the test, but also was “the battleground out of which nationhood . . . [had to] be forged.” Carby argues that in James’s Beyond the Boundary (1963) and the novel Minty Alley (1936), “intellectual practice, racial politics, and cricket were . . . unquestioningly imagined within a discourse of autonomous, patriarchal masculinity.” In Black Jacobins(1938) James posits the existence of a “revolutionary black manhood that, both individually and collectively, gives birth to an independent black nation state.”
African American Review, Fall, 2000 by V.P. Franklin, FindArticles
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For July 1st through August 31st 2011
#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
#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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Edited by Miriam DeCosta-Willis
Blacks in Hispanic Literature is a collection of fourteen essays by scholars and creative writers from Africa and the Americas. Called one of two significant critical works on Afro-Hispanic literature to appear in the late 1970s, it includes the pioneering studies of Carter G. Woodson and Valaurez B. Spratlin, published in the 1930s, as well as the essays of scholars whose interpretations were shaped by the Black aesthetic. The early essays, primarily of the Black-as-subject in Spanish medieval and Golden Age literature, provide an historical context for understanding 20th-century creative works by African-descended, Hispanophone writers, such as Cuban Nicolás Guillén and Ecuadorean poet, novelist, and scholar Adalberto Ortiz, whose essay analyzes the significance of Negritude in Latin America. This collaborative text set the tone for later conferences in which writers and scholars worked together to promote, disseminate, and critique the literature of Spanish-speaking people of African descent. . . . Cited by a literary critic in 2004 as “the seminal study in the field of Afro-Hispanic Literature . . . on which most scholars in the field ‘cut their teeth’.”
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By Melissa V. Harris-Perry
According to the author, this society has historically exerted considerable pressure on black females to fit into one of a handful of stereotypes, primarily, the Mammy, the Matriarch or the Jezebel. The selfless Mammys behavior is marked by a slavish devotion to white folks domestic concerns, often at the expense of those of her own familys needs. By contrast, the relatively-hedonistic Jezebel is a sexually-insatiable temptress. And the Matriarch is generally thought of as an emasculating figure who denigrates black men, ala the characters Sapphire and Aunt Esther on the television shows Amos and Andy and Sanford and Son, respectively.
Professor Perry points out how the propagation of these harmful myths have served the mainstream culture well. For instance, the Mammy suggests that it is almost second nature for black females to feel a maternal instinct towards Caucasian babies.
As for the source of the Jezebel, black women had no control over their own bodies during slavery given that they were being auctioned off and bred to maximize profits. Nonetheless, it was in the interest of plantation owners to propagate the lie that sisters were sluts inclined to mate indiscriminately.
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From The World and Africa, 1965
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posted 19 October 2008
Related files: Joe the Plumber and Adam Smith