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Triptych Eyes of One on Another
Saturday, September 28, 2019, 8pm Zellerbach Hall Triptych Eyes of One on Another A Cal Performances Co-commission Produced by ArKtype/omas O. Kriegsmann in cooperation with e Robert Mapplethorpe Foundation Composed by Bryce Dessner Libretto by korde arrington tuttle Featuring words by Essex Hemphill and Patti Smith Directed by Kaneza Schaal Featuring Roomful of Teeth with Alicia Hall Moran and Isaiah Robinson Jennifer H. Newman, associate director/touring Lilleth Glimcher, associate director/development Brad Wells, music director and conductor Martell Ruffin, contributing choreographer and performer Carlos Soto, set and costume design Yuki Nakase, lighting design Simon Harding, video Dylan Goodhue/nomadsound.net, sound design William Knapp, production management Talvin Wilks and Christopher Myers, dramaturgy ArKtype/J.J. El-Far, managing producer William Brittelle, associate music director Kathrine R. Mitchell, lighting supervisor Moe Shahrooz, associate video designer Megan Schwarz Dickert, production stage manager Aren Carpenter, technical director Iyvon Edebiri, company manager Dominic Mekky, session copyist and score manager Gill Graham, consulting producer Carla Parisi/Kid Logic Media, public relations Cal Performances’ 2019 –20 season is sponsored by Wells Fargo. ROOMFUL OF TEETH Estelí Gomez, Martha Cluver, Augusta Caso, Virginia Kelsey, omas McCargar, ann Scoggin, Cameron Beauchamp, Eric Dudley SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS Lisa Oman, executive director ; Eric Dudley, artistic director Susan Freier, violin ; Christina Simpson, viola ; Stephen Harrison, cello ; Alicia Telford, French horn ; Jeff Anderle, clarinet/bass clarinet ; Kate Campbell, piano/harmonium ; Michael Downing and Divesh Karamchandani, percussion ; David Tanenbaum, guitar Music by Bryce Dessner is used with permission of Chester Music Ltd. “e Perfect Moment, For Robert Mapplethorpe” by Essex Hemphill, 1988. -
Perched in Potential: Mobility, Liminality, and Blues Aesthetics
PERCHED IN POTENTIAL: MOBILITY, LIMINALITY, AND BLUES AESTHETICS IN THE WRITINGS OF JAMES BALDWIN by TAREVA LESELLE JOHNSON (Under the Direction of Valerie Babb) ABSTRACT James Baldwin’s mobility and appreciation for African American musical traditions play an integral part in the writer’s crossing of genre and subgenre, his unique style, and his preoccupation with repeated themes. The interplay of music and shifting space in Baldwin’s life and texts create liminal spaces for Baldwin and readers to enter. In these spaces, clearer understandings of the importance of exteriority and interiority, simultaneously, are achieved. This in-betweenness is a place of potential and power. Baldwin’s writing uses this power to chronicle his own growing consciousness and to create, with his collective works, and through them, Baldwininan literary theory that applies to his own works’ use of liminality, the blues and travel. One is able to overhear Baldwin speaking to himself via his texts at multiple points in his nearly forty-year career. INDEX WORDS: James Baldwin, Transatlantic, Liminal, Mobility, Blues, African American, Go Tell It on the Mountain, The Amen Corner, Sonny’s Blues, The Uses of the Blues, Paris, Turkey, Exile PERCHED IN POTENTIAL: MOBILITY, LIMINALITY, AND BLUES AESTHETICS IN THE WRITINGS OF JAMES BALDWIN by TAREVA LESELLE JOHNSON B.A., COLUMBIA UNIVERSITY, 2008 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2012 © 2012 Tareva Leselle Johnson All Rights Reserved PERCHED IN POTENTIAL: MOBILITY, LIMINALITY, AND BLUES AESTHETICS IN THE WRITINGS OF JAMES BALDWIN by TAREVA LESELLE JOHNSON Major Professor: Valerie Babb Committee: Cody Marrs Barbara McCaskill Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2012 iv DEDICATION I dedicate this project to my brother, Jerome, and everyone else who makes their way back time and time again. -
Equal in Paris
EQUAL IN PARIS An Autobiographical Story JAMES BALDWIN O N THE 19th of December, in 1949, head was chilling and abrupt, like the down- when I had been living in Paris beat of an axe-the hotel would certainly for a little over a year, I was ar- have gone bankrupt long before. It was said rested as a receiver of stolen goods and spent that this old man had not gone farther than eight days in prison. My arrest came about the door of his hotel for thirty years, which through an American tourist whom I had was not at all difficult to believe. He looked met twice in New York, who had been given as though the daylight would have killed my name and address and told to look me him. up. I was then living on the top floor of a I did not, of course, spend much of my ludicrously grim hotel on the rue du Bac, one time in this palace. The moment I began of those enormous dark, cold, and hideous living in French hotels I understood the establishments in which Paris abounds that necessity of French caf6s. This made it seem to breathe forth, in their airless, humid, rather difficult to look me up, for as soon stone-cold halls, the weak light, scurrying as I was out of bed I hopefully took notebook chambermaids, and creaking stairs, an odor and fountain pen off to the upstairs room of gentility long long dead. The place was of the Flore, where I consumed rather a lot run by an ancient Frenchman dressed in an of coffee and, as evening approached, rather elegant black suit which was green with age, a lot of alcohol, but did not get much writing who cannot properly be described as be- done. -
Redemptive Suffering and Spiritual Service in the Works of James Baldwin
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 2-2-2006 Reclaiming the Human Self: Redemptive Suffering and Spiritual Service in the Works of James Baldwin Francine LaRue Allen Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Part of the English Language and Literature Commons Recommended Citation Allen, Francine LaRue, "Reclaiming the Human Self: Redemptive Suffering and Spiritual Service in the Works of James Baldwin." Dissertation, Georgia State University, 2006. https://scholarworks.gsu.edu/english_diss/6 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RECLAIMING THE HUMAN SELF: REDEMPTIVE SUFFERING AND SPIRITUAL SERVICE IN THE WORKS OF JAMES BALDWIN by FRANCINE LARUE ALLEN Under the Direction of Professor Thomas McHaney ABSTRACT James Arthur Baldwin argues that the issue of humanity—what it means to be human and whether or not all people bear the same measure of human worth—supersedes all issues, including socially popular ones such as race and religion. As a former child preacher, Baldwin claims, like others shaped by both the African-American faith tradition and Judeo- Christianity, that human equality stands as a divinely mandated and philosophically sound concept. As a literary artist and social commentator, Baldwin argues that truth in any narrative text, whether fictional or non-fictional, lies in its embrace or rejection of human equality. Truth-telling narrative texts uphold human equality; false-witnessing texts do not. -
Homosexuality in James Baldwin's Novels
RESEARCH PAPER English Volume : 5 | Issue : 9 | September 2015 | ISSN - 2249-555X Homosexuality in James Baldwin’s Novels KEYWORDS Homosexual, James Baldwin, African American gay writers, Racism, Religious. Ibrahim Mohammed Ali Alfagih Dr. A Y.Badgujar Research Guide Arts, Commerce &Science College PhD. Student,English Department, NMU (Varangaon) ABSTRACT James Baldwin was African American novelist and social critic. He was born illegitimate and black boy. But he became a well- known writer in bisexual and queer in African American literature writing with his novels. Baldwin’s acclaimed novels are Go Tell It on the Mountain, Giovanni’s Room, Another Country, Tell Me How Long the Train Been Gone, If Beale Street Could Talk, and Just Above My Head. This paper tries to show how homosexual is used in James Baldwin’s novels. James Baldwin carefully studied and dis- guised the homosexual theme in the first novel through John who was searching for his existence or identity, While, in Giovanni’s Room, homosexual was fully undisguised. The success of Giovanni’s Room as a gay and white novel made Baldwin to choose homosexual as main theme in his later novels. So, Baldwin opened the door in front of the next generation of gay writers to study and discus gay theme in their works. James Baldwin had difficulties in his childhood life. He did It portrays the efforts and life of John Grimes. It comes to not know his biological father. He had complex and tough terms with John African American cultural inheritance and relationship with his step-father. His father showed a strict his homosexuality. -
Negotiating Black Nationalism and Queerness in James Baldwin's Late Novels
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2013 The Song We Sing: Negotiating Black Nationalism And Queerness In James Baldwin's Late Novels Elliot N. Long University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Literature Commons Recommended Citation Long, Elliot N., "The Song We Sing: Negotiating Black Nationalism And Queerness In James Baldwin's Late Novels" (2013). Electronic Theses and Dissertations. 547. https://egrove.olemiss.edu/etd/547 This Dissertation 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]. “THE SONG WE SING”: NEGOTIATING BLACK NATIONALISM AND QUEERNESS IN JAMES BALDWIN’S LATE NOVELS A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of English The University of Mississippi by ELLIOT N. LONG June 2013 Copyright Elliot N. Long 2013 ALL RIGHTS RESERVED ABSTRACT Despite his exclusion from the Black Arts Movement, James Baldwin includes in his later novels many elements of Black Nationalism, including a focus on black communities, black music, Pan-Africanism, and elements of separatism. In his inclusion of queer sexuality, Baldwin pushes against the typical bounds of Black Arts writings, expanding the limits of the genre. Contrary to the philosophy of Black Nationalism, which depends upon solid definitions of blackness, heterosexuality, and masculinity, is Baldwin’s tearing down of identity categories through queering sexuality, gender, and race. -
James Baldwin, the Religious Right, and the Moral Minority
ESSAY “To Crush the Serpent”: James Baldwin, the Religious Right, and the Moral Minority Joseph Vogel Merrimack College Abstract In the 1980s, James Baldwin recognized that a major transformation had occurred in the socio- political functions of religion. His critique adapted accordingly, focus- ing on the ways in which religion—particularly white evangelical Christianity— had morphed into a movement deeply enmeshed with mass media, conservative politics, and late capitalism. Religion in the Reagan era was leveraged, sold, and consumed in ways never before seen, from charismatic televangelists, to Christian- themed amusement parks, to mega- churches. The new movement was often char- acterized as the “religious right” or the “Moral Majority” and was central to both Reagan’s political coalition as well as the broader culture wars. For Baldwin, this development had wide- ranging ramifications for society and the individual. This article draws on Baldwin’s final major essay, “To Crush the Serpent” (1987), to examine the author’s evolving thoughts on religion, salvation, and transgression in the context of the Reagan era. Keywords: James Baldwin, religion, Moral Majority, religious right, Ronald Reagan, “To Crush the Serpent,” 1980s At some point in the 1980s, James Baldwin must have been flipping through chan- nels on TV and stumbled upon an appearance of Jerry Falwell on Nightline, or perhaps Pat Robertson’s talk show, The 700 Club, or maybe Jim and Tammy Faye Bakker’s Praise the Lord (PTL) network. These figures were so ubiquitous during the Reagan era it would have been difficult not to. While we may never know the full range of thoughts looming behind those large, inquisitive eyes, Baldwin, fortunately, did leave behind a written record on the subject that offers important insights into the author’s evolving thoughts on religion, salvation, and transgres- sion from the final decade of his life. -
Reading and Theorizing James Baldwin: a Bibliographic Essay
BIBLIOGRAPHIC ESSAY Reading and Theorizing James Baldwin: A Bibliographic Essay Conseula Francis College of Charleston, South Carolina Abstract Readers and critics alike, for the past sixty years, generally agree that Baldwin is a major African-American writer. What they do not agree on is why. Because of his artistic and intellectual complexity, Baldwin’s work resists easy categori- zation and Baldwin scholarship, consequently, spans the critical horizon. This essay provides an overview of the three major periods of Baldwin scholarship. 1963–73 is a period that begins with the publication of The Fire Next Time and sees Baldwin grace the cover of Time magazine. This period ends with Time declaring Baldwin too passé to publish an interview with him and with critics questioning his relevance. The second period, 1974–87, finds critics attempting to rehabilitate Baldwin’s reputation and work, especially as scholars begin to codify the African-American literary canon in anthologies and American universities. Finally, scholarship in the period after Baldwin’s death takes the opportunity to challenge common assumptions and silences surrounding Baldwin’s work. Armed with the methodologies of cultural studies and the critical insights of queer theory, critics set the stage for the current Baldwin renaissance. Keywords: James Baldwin, critical reception, literary history, literary criticism, African-American literature Considering the critical reception of James Baldwin is difficult for a number of reasons. First, Baldwin was a widely reviewed, widely studied, prolific author. He published twenty-two full-length works in his lifetime, in addition to many essays, reviews, introductions, and interviews. In addition, his career was quite long. -
Journal of Haitian Studies, Volume 19, Number 1, Spring 2013, Pp
7KH/HJDF\RI$VVRWWR6DLQW7UDFLQJ7UDQVQDWLRQDO +LVWRU\IURPWKH*D\+DLWLDQ'LDVSRUD Erin Durban-Albrecht Journal of Haitian Studies, Volume 19, Number 1, Spring 2013, pp. 235-256 (Article) 3XEOLVKHGE\&HQWHUIRU%ODFN6WXGLHV8QLYHUVLW\RI&DOLIRUQLD 6DQWD%DUEDUD DOI: 10.1353/jhs.2013.0013 For additional information about this article http://muse.jhu.edu/journals/jhs/summary/v019/19.1.durban-albrecht.html Access provided by Illinois State University (29 Mar 2016 16:46 GMT) The Journal of Haitian Studies, Volume 19 No. 1 © 2013 THE LEGACY OF ASSOTTO SAINT: TRACING TRANSNATIONAL HISTORY FROM THE GAY HAITIAN DIASPORA Erin Durban-Albrecht University of Arizona INTRODUCTION This essay uses Michel-Rolph Trouillot’s notion of power and the production of history as a starting point to explore the ways that Assotto Saint (1957-1994), a gay Haitian American who was once a well-known player in the Black gay and AIDS activist cultural movements in the United States, is remembered and written about in contemporary venues.1 I argue that the politics of remembrance pertaining to Saint’s cultural work and activism has significant consequences for our understanding of late twentieth century social and cultural movements in the United States as well as gay Haitian history. I explore the fact that Saint’s work has fallen out of popularity since his death in 1994, except in limited identitarian, mostly literary venues. The silences surrounding his work that I describe in this essay are peculiar considering that Saint not only had important social connections with artists who are well-known today, but also, unlike artists with less access to financial resources, he left behind a huge archive of materials housed in the Black Gay and Lesbian Collections at the Schomburg Center for Research in Black Culture as well as a rich and prolific corpus of published work. -
Sonny's Blues Study Guide
Sonny's Blues Study Guide © 2018 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary The narrator, a teacher in Harlem, has escaped the ghetto, creating a stable and secure life for himself despite the destructive pressures that he sees destroying so many young blacks. He sees African American adolescents discovering the limits placed on them by a racist society at the very moment when they are discovering their abilities. He tells the story of his relationship with his younger brother, Sonny. That relationship has moved through phases of separation and return. After their parents’ deaths, he tried and failed to be a father to Sonny. For a while, he believed that Sonny had succumbed to the destructive influences of Harlem life. Finally, however, they achieved a reconciliation in which the narrator came to understand the value and the importance of Sonny’s need to be a jazz pianist. The story opens with a crisis in their relationship. The narrator reads in the newspaper that Sonny was taken into custody in a drug raid. He learns that Sonny is addicted to heroin and that he will be sent to a treatment facility to be “cured.” Unable to believe that his gentle and quiet brother could have so abused himself, the narrator cannot reopen communication with Sonny until a second crisis occurs, the death of his daughter from polio. -
Black/Out Is a Magazine By, for and —Ann Chapman; P
B LACK/OUT The Magazine of the National Coalition of Black Lesbians and Gays Volume 1 Number 1 Summer 1986 $3 Simon Nkodi: On Trial for Treason by James Charles Roberts page 6 Working for Liberation and Having a Damn Good Time! by Barbara Smith page 13 Poetry: Julie Blackwomon Dan Garrett Stephen F. Langley Sonia Sanchez page 18 v-lisi: $ i^K" CONTENTS BLACK/OUT NEWS Publisher NCBLG National Conference on AIDS Among Blacks National Coalition of Black Lesbians and Gays, Inc., a non-profit organization that provides advocacy on by Craig G. Harris 4 issues affecting Black Lesbians and Gays. Simon Nkodi: On Trial for Treason by James Charles Roberts 6 Board of Directors Timothy Lee: Murder or Suicide? Michelle Parkerson, Co-chair by James Charles Roberts Louis Hughes, Jr., Co-chair 6 Gwendolyn Rogers, Secretary Clifton A. Roberson, Treasurer Joseph F. Beam NEWS BRIEFS Angela Bowen Gays, Lesbians and bisexuals of color convene; Hemphill receives Audre Lorde NEA grant; Bowen at NOW march; Parkerson, Hemphill and Jones Marietta G. Mason receive Residency for New Works grant ••. 5 Luvenia Pinson Betty Powell Barbara Smith Lawrence Washington FEATURES Charles Williams The NCBLG Family Gathers: A Conference Report Dan Weddo by Craig G. Harris 10 Executive Director Working for Liberation and Having a Damn Good Time! by Barbara Smith 13 Gil Gerald Two Views on The Color Purple Publications Committee It's Not for Me to Say by Angela Bowen 15 Editor All in the Family by R. Harris 15 Joseph F. Beam Associate Editors Angela Bowen DEPARTMENTS Barbara Smith OUT/LOOK "Black Pride and Solidarity: The New Movement Dan Weddo of Black Lesbians and Gays" by Gil Gerald 3 News Correspondents James Charles Roberts, Philadelphia OUT/POSTS News from the Chapters 7 Colin Robinson, New York OUT/LET "Caring for Each Other" by Joseph Beam 9 Typesetting/Design Essex Hemphill COMING OUT by Angela Bowen 12 Cover Art POETRY Sonia Sanchez, Dan Garrett, Stephen F. -
Love, Liberation, and the Rise of Black Lesbian and Gay Cultural Politics in Late Twentieth Century America
“Out of This Confusion I Bring My Heart” Love, Liberation, and the Rise of Black Lesbian and Gay Cultural Politics in Late Twentieth Century America by David B. Green Jr. A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2015 Doctoral Committee: Associate Professor Maria E. Cotera, Chair Professor Frieda Ekottto Assistant Professor Brandi S. Hughes Assistant Professor Victor R. Mendoza When you love as we did you will know There is no life but this And history will not be kind Melvin Dixon (I)Eye dedicate this work to My Brother O.B. Green Who was taken too soon from this earth ii Acknowledgements I believe…no—wait—I remember. Yes. I remember the exact moment when I received a call from Jesse Huffnung-Garskof. Jesse called to inform me that I had been admitted into the Program in American Culture here at the University of Michigan. I was in Der Rathskeller, the main lunch drag at the University of Wisconsin’s student union. In the middle of grabbing one of their delicious cheeseburgers, I struggled to retrieve my cell phone. “Hello?...hello yes, this is David.” Moments later I was screaming. “Really?!” Yes, I was admitted into a doctoral program at the University of Michigan— one of two programs that accepted me. I knew nothing about this university. To tell the truth, I had never heard of the University of Michigan. Seriously. When I was completing my Master’s thesis and applying to doctoral programs, a colleague, Eric Darnell Pritchard—who had completed his Master’s degree in African American Studies and Doctoral degree in English Rhetoric at Wisconsin and now works as an Assistant Professor at the University of Texas at Austin—encouraged me to apply to Michigan.