Saaccbookgroup 2020

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2020 Schedule February 5, 2020 SAACCBOOKGROUP 2020 Seacoast African American Cultural Center Our Reading List for 2020: Our Tenth Year! April 21 - "The 1619 Project," The New York Times Magazine's collection of essays and other literary works that reframe American history by placing slavery at the center of our country's story. Please come to our meeting with three revelations that you gleaned from this material. To read: https://bit.ly/381zL3X June 16 - The Underground Railroad (2016) by Colson Whitehead -- discussion led by Jack McGee and Art Anker August 18 - Having Our Say: The Delany Sisters' First One Hundred Years (1993) by Sarah "Sadie" L. Delany, A. Elizabeth "Bessie" Delany and Amy Hill Hearth -- discussion by led by Sandi Clark Paddy Colson Whitehead All meetings are open to the September 15 - Sing, Unburied, Sing (2017) by Jesmyn Ward public and are held at the -- discussion led by Mary Anker Seacoast African American Cultural Center in Discover October 20 - Just Mercy: a Story of Justice and Redemption Portsmouth Center, 10 (2014) by Bryan Stevenson -- discussion led by Judy Ullman Middle Street. Meetings start at 7pm. Please enter November 10 - Biased: Uncovering the Hidden Prejudice that the red door facing the Shapes What We See, Think, and Do (2019) by Jennifer L parking area behind the Eberhardt -- discussion led by Ellen Cohn building. “Some days later, I All books can be ordered understood what he was through RiverRun in trying to say, that getting Portsmouth at a reduced grown means learning how “book club” rate. to work that current: learning when to hold fast, when to drop anchor, when For more information, to let it sweep you up.” please email Susan Manfull ― Jesmyn Ward, Sing, at [email protected] Photograph © Beowulf Sheehan Unburied, Sing.

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2016 Fiction Longlist Release FINAL
RELEASE: SEPTEMBER 15, 2016 Contact: Sherrie Young 9:30 a.m. EDT National Book Foundation (212) 685-0261 [email protected] 2016 NATIONAL BOOK AWARDS LONGLIST FOR FICTION The ten contenders for the National Book Award for Fiction. New York, NY (September 15, 2016) – The National Book Foundation today announced the Longlist for the 2016 National Book Award for Fiction. Finalists will be revealed on October 13. (Please note that this date was originally set for October 12, but has been changed to acknowledge Yom Kippur.) The Fiction Longlist includes a former National Book Award Winner for Young People’s Literature and two titles by former National Book Award Finalists for Fiction. The list also includes three Pulitzer Prize finalists. One title is currently shortlisted for the 2016 Baileys Women’s Prize for Fiction and another was recently selected for Oprah’s Book Club. There is one debut novel on the list. The year’s Longlist is told from and about locations all around the world. Authors hail from and titles explore locations that range from Alaska, New Delhi, Bulgaria, and even a reimagined United States. Colson Whitehead’s Underground Railroad follows Cora, a fugitive slave, as she escapes the south on a literal underground railroad in a speculative historical fiction that reckons with the true legacy of liberation and escape. In a very different journey, former Pulitzer Prize finalist Lydia Millet’s Sweet Lamb of Heaven follows a mother as she traverses the country with her daughter, fleeing her powerful husband. What Belongs to You, a debut novel by Garth Greenwell, finds its American narrator in Sofia, Bulgaria attempting to reconcile the shame and desire bound up in his own sexuality.
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A R T Y K U Ł Y Affective Transmission and Haunted Landscape in Jesmyn Ward's Sing, Unburied, Sing
ARTYKUŁY ROCZNIKI HUMANISTYCZNE Tom LXVIII, zeszyt 11 – 2020 DOI: https://doi.org/10.18290/rh206811-1 PATRYCJA ANTOSZEK* AFFECTIVE TRANSMISSION AND HAUNTED LANDSCAPE IN JESMYN WARD’S SING, UNBURIED, SING A b s t r a c t. The essay discusses Jesmyn Ward’s novel Sing, Unburied, Sing (2017) through Nicolas Abraham’s and Maria Torok’s concept of “transgenerational phantom” and Teresa Brennan’s theory of the transmission of affect. While the novel focuses on poor blacks in the contemporary American South, and, therefore, on the experience of those marginalized and excluded from official discourse, the narrative seems to transgress racial, social, and generational boundaries to address the human predicament in ways that are both visceral and poetic, disturbing and magical. By employing the trope of haunting to talk about racial oppression, the author combines past and present to demonstrate how slavery and racism continue to take their toll, producing more individual and communal traumas. The essay argues that in Sing, Unburied, Sing Ward not only deconstructs such dominant Western categories as past and present, black and white, male and female, or life and death, but also indicates a way of dealing with and communicating traumatic realities that goes beyond the Symbolic patterns of making sense of the world. Keywords: affect; haunting; transgenerational phantom; slavery; trauma. In Sing, Unburied, Sing (2017) Jesmyn Ward tells a half-lyrical, half-poli- tical tale of modern-day Mississippi haunted by its horrific past and that past’s ongoing legacy. As all her fiction, including the debut novel Where the Line Bleeds (2008) and Salvage the Bones (2011), Sing is set in the fictional town of Bois Sauvage (Savage Woods), modeled on the small, Gulf Coast town of DeLisle, where the author grew up.
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An Exploration of Afro-Southern Speculative Fiction
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2020 Post-Soul Speculation: An Exploration Of Afro-Southern Speculative Fiction Hilary Word Follow this and additional works at: https://egrove.olemiss.edu/etd Recommended Citation Word, Hilary, "Post-Soul Speculation: An Exploration Of Afro-Southern Speculative Fiction" (2020). Electronic Theses and Dissertations. 1817. https://egrove.olemiss.edu/etd/1817 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. POST-SOUL SPECULATION: AN EXPLORATION OF AFRO-SOUTHERN SPECULATIVE FICTION A Thesis Presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of Southern Studies The University of Mississippi by HILARY M. WORD May 2020 Copyright © Hilary M. Word 2020 ALL RIGHTS RESERVED. ABSTRACT This thesis is an examination of female authored, post-soul, Afro-Southern speculative fiction. The specific texts being examined are My Soul to Keep by Tananarive Due, Stigmata by Phyllis Alesia Perry, and Sing, Unburied, Sing by Jesmyn Ward. Through exploration of these texts, I posit two large arguments. First, I posit that this thesis as a collective work illustrates how women-authored Afro-Southern speculative fiction based in the post-soul era embodies and champions womanist politics and praxis critical for liberation through speculative elements. Second, I assert that this thesis is demonstrative of how this particular type of fiction showcases the importance of specificity of setting and reflects other, often erased facets of African American identity and realities by centering the experiences of contemporary Black Southerners.
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2021 Creative Writing Exam Reading Lists
2021 Creative Writing Exam Reading Lists Fiction Kate Bernheimer, “Fairy Tale is Form, Form is Fairy Tale,” from The Writer’s Notebook: Craft Essays from Tin House Eudora Welty, The Eye of the Story Susan Sontag, “On Style” from Against Interpretation Donald Barthleme, “Not-Knowing” from Not Knowing: The Essays and Interviews of Donald Barthelme John C. Gardner, The Art of Fiction George Plimpton and Margaret Atwood, Women Writers at Work: The Paris Review Interviews, 3rd edition Francine Prose, Reading Like A Writer Jane Smiley, 13 Ways of Looking at the Novel James Baldwin, “The Art of Fiction Interview. No 78” In Paris Review Samuel Delany, About Writing Raymond Carver, ed. American Short Story Masterpieces Anthony Doerr and Heidi Pitlor, Best American Short Stories 2019 Laura Furman, The O. Henry PriZe Stories 100th Anniversary Edition (2019) Ben Marcus, ed. New American Stories Nonfiction/Memoir Adrienne Rich, “When We Dead Awaken”, in On Lies, Secrets, and Silence Jhumpa Laniri, In Other Words Claudia Rankine, CitiZen bell hooks, Remembered Rapture David Foster Wallace, “Consider the Lobster” Charles Johnson, “I Call Myself an Artist” in I Call Myself an Artist, edited by Rudolph P. Byrd Margot Singer and Nicole Walker, eds. Bending Genre “The Invention of Autobiography,” in Patricia Hampl, I Could Tell You Stories Karen Tei Yamashita, Letters to Memory Ta-Nehisi Coates, Between The World and Me Roland Barthes, RB RB Michael Downs, “Me, Myself, I: Idiosyncrasy and Structure in Nonfiction” in Triquarterly Jesmyn Ward, Men We Reaped Ander Monson, “The Designed Essay: Design as Essay” Jonathan Lethem, “The Ecstasy of Influence” Philip Lopate, editor, The Art of the Personal Essay John D’Agata, ed.
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Addition to Summer Letter
May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays.
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By Jesmyn Ward Lesson Plan
Lesson Plan Sing Unburied Sing By Jesmyn Ward Developed by Krista Stevens, PhD Shared on behalf of the Anisfield-Wolf Book Awards 1 Lecture Plans / Ideas for Post-Secondary Students Jesmyn Ward Sing, Unburied, Sing Jesmyn Ward, Sing, Unburied, Sing (New York: Scribner, 2017). Cover Design: Hellen Yentus Cover Illustration: Jaya Miceli 2 Laying the Groundwork: Background and Introduction Jesmyn Ward (b. 1977) • Grew up in DeLisle, MS, a location that has heavily influenced her writing. • BA in English and MA in Media Studies and Communication from Stanford University. • MFA from University of Michigan. • Family displaced by Hurricane Katrina, an event that also has heavily influenced her writing and contributed to a three-year writing hiatus. • Only woman to win the National Book Award two times (2011, Salvage the Bones and 2017, Sing, Unburied, Sing) • Published works: Where the Line Bleeds (2008), Salvage the Bones (2011), Men We Reaped (2013), The Fire This Times (2016), Sing, Unburied Sing, (2017), Navigate Your Stars (2020). Background Reading on Ward: Alison Flood, “Hurricane Katrina novel wins National Book Award,” The Guardian (November 17, 2011), https://www.theguardian.com/books/2011/nov/17/hurricane-katrina-novel- national-book-award. Judy Johnson, “Jesmyn Ward,” Current Biography 75, no. 3 (March 2014). Boris Kachka, “The Rise and Return of Jesmyn Ward,” New York Magazine (August 24, 2017), https://www.vulture.com/2017/08/jesmyn-ward-sing-unburied-sing.html. Jesmyn Ward, “No Mercy in Motion,” Guernica (September 2, 2013), https://www.guernicamag.com/no-mercy-in-motion/. Paula Rogo, “Jesmyn Ward Wins Second National Book Award for ‘Sing, Unburied, Sing,’” Essence (November 18, 2017), https://www.essence.com/culture/jesmyn-ward-second- national-book-award-sing-unburied-sing/.
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Continuing Conjure: African-Based Spiritual Traditions in Colson Whitehead’S the Underground Railroad and Jesmyn Ward’S Sing, Unburied, Sing
religions Article Continuing Conjure: African-Based Spiritual Traditions in Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing James Mellis Guttman Community College, 50 West 40th St., New York, NY 10018, USA; [email protected] Received: 10 April 2019; Accepted: 23 June 2019; Published: 26 June 2019 Abstract: In 2016 and 2017, Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing both won the National Book Award for ﬁction, the ﬁrst time that two African-American writers have won the award in consecutive years. This article argues that both novels invoke African-based spirituality in order to create literary sites of resistance both within the narrative of the respective novels, but also within American culture at large. By drawing on a tradition of authors using African-based spiritual practices, particularly Voodoo, hoodoo, conjure and rootwork, Whitehead and Ward enter and engage in a tradition of African American protest literature based on African spiritual traditions, and use these traditions variously, both as a tie to an originary African identity, but also as protection and a locus of resistance to an oppressive society. That the characters within the novels engage in African spiritual traditions as a means of locating a sense of “home” within an oppressive white world, despite the novels being set centuries apart, shows that these traditions provide a possibility for empowerment and protest and can act as a means for contemporary readers to address their own political and social concerns. Keywords: voodoo; conjure; African-American literature; protest literature; African American culture; Whitehead; Ward; American literature; popular culture And we are walking together, cause we love one another There are ghosts at our table, they are feasting tonight.
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Toni Morrison's Beloved and Jesmyn Ward's Sing, Unburied, Sing
The Transgenerational Ghost of Slavery Haunting America: Toni Morrison’s Beloved and Jesmyn Ward’s Sing, Unburied, Sing Sanne Steele-Nicholson 4090446 MA Thesis - Literature Today Utrecht University Supervisor: Dr. Susanne Knittel Second reader: Dr. Paul Bijl 20 June 2019 Steele-Nicholson 2 TABLE OF CONTENTS ABSTRACT 3 INTRODUCTION 4 THEORIZING TRAUMA 9 CHAPTER 1: MORRISON’S BELOVED 17 MORRISON’S BELOVED: BABY SUGGS, SETHE AND THE MOTHERLY LOVE 23 MORRISON’S BELOVED: DENVER AS THE REPLACEMENT CHILD 27 CHAPTER 2: SING, UNBURIED, SING 33 WARD’S SING, UNBURIED, SING: PAST AND PRESENT GHOSTS 39 WARD’S SING, UNBURIED, SING: REPLACEMENT CHILDREN OR REMEMBRANCE? 45 CONCLUSION 48 WORKS CITED 52 Steele-Nicholson 3 Abstract This thesis explores the literary representation of transgenerational trauma in novels written by African-American authors. Trauma has often been represented in literature through the use of ghost stories. Since Toni Morrison’s award-winning novel Beloved (1987), many other authors have used the ghost as a vehicle to represent enduring (transgenerational) trauma in American society. In Beloved, the title character rises from the dead, representing the country’s past coming back to haunt it. More recently, Jesmyn Ward’s Sing, Unburied, Sing (2017) similarly deals with the collective trauma America suffered during – and after – slavery using ghosts to embody said trauma. This study aims to show different ways in which the figure of the ghost is used as a literary device to represent the trauma and disremembering that is woven into life and art in the United States. To do so, the study will engage with work in the academic field of trauma theory.
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How White Constructs Reinforce the Extended Black Family.Pdf
P a g e | 1 4 We Reap What You Sow: How White Constructs Reinforce the Extended Black Family Tara M. Moore In 1965, Daniel Moynihan defined the African American family dynamic as pathological and urged public policy to focus on repairing it (32). Although he meant no harm, harm was done. For decades afterwards, the African American family was regarded as “delinquent” and “pathological” due to its presumed matriarchal dominance and lack of nuclear structure. It was blamed as the main reason African Americans failed to achieve socio-economic success while ignoring the ingrained racism of social institutions (e.g. the media, the criminal justice system, the education system, etc.). When African Americans are not the narrators of our own story we run the risk of being mislabeled and misunderstood. However, the technology of modernity has given Black voices an invaluable and affordable platform to counter this narrative: the internet. Prior to the internet’s expansion and the subsequent rise of social media, the telling of African American family narratives was limited to those with means – generally Whites or (upper) middle-class African Americans – limiting the depth, focus, and overall complexity of the portrayal of African American families and the external factors that affect them. But because videos can be uploaded for and by almost anyone, counter-narratives are being presented that remind society that racism persists in people and within the social constructs that govern our everyday lives. For example, the 2012 murder of an innocent Black 17-year-old boy, Trayvon Martin, received massive media attention as the twitter hashtag #BlackLivesMatter went viral and later became an activist movement.
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Black Voices Summer 2020.Indd
BLACK VOICES2020 is newsletter features books by contemporary Black authors, across all genres and ages. It is not an exhaustive list, but you will nd both individually highlighted books and lists with more authors and titles to discover. Be sure to visit each author’s website to learn more about them. The Nickel Boys by Colson Whitehead An American Marriage by Tayari Jones Elwood Curtis is about to enroll in the local black college. But for a black boy in Newlyweds Celestial and Roy are the embodiment of the American Dream. But the Jim Crow South of the early 1960s, one innocent mistake lands him in a juve- as they settle into their life together, Roy is sentenced to twelve years for a crime nile reformatory called the Nickel Academy. In reality, the Academy is a grotesque Celestial knows he didn’t commit. Unmoored, Celestial takes comfort in her friend chamber of horrors where the sadistic staff beats and sexually abuses the students. Andre, and becomes unable to hold on to the love that has been her center as Roy’s More books to check out by two-time Pulitzer Prize winning Colson Whitehead in- time in prison passes. But after ﬁ ve years, Roy’s conviction is suddenly overturned, clude The Underground Railroad, The Noble Hustle, Zone One, Sag Harbor, Apex and he returns to Atlanta ready to resume their life together. Also check out Jones’ Hides the Hurt, John Henry Days, and The Intuitionist. Anchor $15.95. books Silver Sparrow, The Untelling, and Leaving Atlanta. Algonquin $16.95.
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COGNOTES MIDWINTER MEETING & EXHIBITS February 9–13, 2018 MONDAY, FEBRUARY 12 | DENVER
COGNOTES MIDWINTER MEETING & EXHIBITS February 9–13, 2018 MONDAY, FEBRUARY 12 | DENVER DENVER, CO AMERICAN LIBRARY ASSOCIATION Youth Media Awards Announced at Monday Ceremony John Newbery Randolph Medal Caldecott Medal Hello, Universe WOLF IN by Erin THE SNOW by Entrada Kelly Matthew Cordell Pura Belpré Pura Belpré William C. Morris Illustrator Award Author Award Award Coretta Scott Coretta Scott King Juana Martinez- Ruth Behar The Hate U Giveby King Illustrator Author Award Neal illustrator of author of Lucky Angie Thomas Award Renée Watson author La Princesa and the Broken Girl Ekua Holmes of Piecing Me Together Pea illustrator of Out of Wonder: Poems Celebrat- ing Poets Schneider Family Book Award Young Children’s Book Silent Days, Silent Dreams by Allen Say YALSA Award Stonewall Award Michael L. Middle Grades for Excellence Little & Lion by Brandy Colbert Printz Award Macy McMillan and the in Nonfiction The 57 Busby Dashka Slater We Are Okay by Rainbow Goddess by Shari Vincent and Nina LaCour Green Theo: The Van Teen Book Gogh Brothers You’re Welcome, Universe by Deborah by Whitney Gardner Heiligman » see page 10 Manhattan Beach, You Don’t Have to Say You Readers’ Advisory Love Me Receive 2018 Andrew Carnegie Medals Experts Announce for Excellence in Fiction and Nonfiction 2018 Notable he American Library Association lections will serve as a guide for those who are Books List (ALA) selects Manhattan Beach by looking for the best of the best in fiction and Jennifer Egan, published by Scribner, nonfiction for adult readers, thus transforming
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Brookfield Public Library Hours
Brookfield Public Library 1900 N. Calhoun Road Brookfield, Wisconsin 53005 (262) 782-4140 www.brookfieldlibrary.com https://www.facebook.com/brooklib.fb Hours Monday — Thursday 9 a.m. to 9 p.m. Friday & Saturday 9 a.m. to 5 p.m. Sunday (School Year) 1 p.m. to 4 p.m. 2021 edition FICTION Weaveworld Clive Barker Barker turns from his usual horror to epic-length fantasy for this account of the Fugue, a magical land inhabited by descendants of supernatural beings who once shared the earth with humans. The Fugue has been woven into a carpet for protection against those who would destroy it; the death of its guardian occasions a battle between good and particularly repulsive evil forces for control of the Fugue. Weaveworld is rich with memorable characters, exciting situations, and pockets of Barker's trademark horror. The fine style and handling of mythological themes carry the reader to a satisfying conclusion. Both horror and fantasy fans will enjoy this sure-fire best seller. (Library Journal) “Imaginative.” – Cynthia A Great and Terrible Beauty Young Adult Fiction Libba Bray In the opening scene of this novel set in Victorian times, narrator Gemma Doyle walks the streets of Bombay, India, with her mother on her 16th birthday. By the end of the second chapter, her mother is dead, and Gemma has envisioned just how it happened. Gemma's visions intensify while at school, where she soon learns of an age-old Order of sorceresses who can open doors between worlds. Meanwhile, the girls of school are preparing for their "season," when they will be trotted out before wealthy bachelors in hopes of securing a good marriage.
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