Friday, Feb. 8, 7 PM
Book Cellar, 4736-38 North Lincoln Avenue, Chicago, IL
Saturday, Feb. 9, 2 PM
Reading, Q&A and book signing sponsored by the NOLA in Chicago Network and the Organization of Black Students at the University of Chicago
Bartlett Dining Commons Trophy Room, University of Chicago
5640 S. University Avenue, Chicago, IL
Wednesday, Feb. 13, 7 PM
Square Books, 160 Courthouse Square, Oxford, MS
Thursday, Feb. 14, 5 PM
Lemuria Books, 202 Banner Hall, 4465 I-55 North, Jackson, MS 39206
Friday, Feb. 15
Jackson, MS, events TBA!
Saturday, February 16, 1 PM
Conversations Book Club, Comfort Inn and Suites Downtown (346 Baronne St.)
Possibly another at the end of February in NO...details soon!
Monday, January 28, 2008
Friday, Feb. 8, 7 PM
Friday, January 18, 2008
On Saturday, January 19, 2008 book lovers and fans from Texas, Florida, Mississippi, Tennessee and Georgia will converge on New Orleans for the debut of "Conversations* New Orleans," hosted by radio/television show host Cyrus A. Webb.
Conversations Book Club in New Orleans is pleased to be uniting readers of all genres, races and genders around great books and authors. Meeting at the Comfort Inn and Suites Downtown (346 Baronne St.) every 3rd Saturday at 1p.m., the group will talk about authors that are making an impact on the literary scene and get to meet them live and in person.
Moderated by Conversations Book Club President Cyrus A. Webb (http://www.authorsden.com
C'Mon. Join the addiction: Get hooked on books!
Monday, January 14, 2008
Q: Do you think Black authors have a unique perspective because of being Black, or is that irrelevant? If they do have a unique perspective, do you think they're writing things that non-Blacks can relate to, or are their experience foreign to most other races/ethnic groups? I guess what I'm asking is whether most Black literature is based on a past of poverty and oppression that any struggling ethnic group can relate to, or is it unique to American Blacks?
A: To the extent that some (not most) African American literature is based on a past of poverty and oppression, I think it speaks to all groups who have struggled against these - however, the black experience in the U.S. is unique in many ways: the length of their history in the U.S. going back to the 17th century, the fact that they were brought to the U.S. unwillingly as slaves, and also that the form of slavery to which these Africans were subjected in the west was in many ways the worst the world has ever known (the only one which considered slaves as chattels, of no more significance than ownership of cattle).
The other important thing to realize in looking at African American literature is that in many ways it is part of a world literature or a trans-Atlantic literature. The term "diaspora" is used to indicate the spread of those of African descent to most parts of the western world. So my own personal perspective has been broadening to include Afro-Caribbean writers (many of whom left the Caribbean and went to England, France, Canada and the U.S.), Afro-Brazilian, and African writers. In fact, if you are talking about a writer from Puerto Rico or Cuba who has come to the United States, is that writer a Latin American or an African American or both?
One other point: the best literature is universal - Thus Grapes of Wrath speaks to all readers, not just migrant farm workers, and I think so does Wright's Native Son, and Baldwin's Go Tell It on a Mountain and Zorah Neale Hurston's Jonah's Gourd Vine, to give just a few examples.
A. I guess I am partly curious about why you say that white writers seem to write about all nationalities and ethnic groups. Certainly one sees this in children's literature where in the past the writers were almost exclusively white, but the children were often from different countries, or little black children. But I think in serious literature it is much less common for a white writer to have the protagonist of the work be of another race. Again, in the past, some Southerners wrote novels in dialect, but these were intended to confirm white readers in their belief that Negroes were simple, child-like, happy folks, or untrustworthy and shifty or whatever.
I don't want to say that there aren't any exceptions, because of course, there are but they are precisely that, exceptions: To give just one very modern example, Susan Straight is a white woman who set her first few books exclusively within the black community but she was married to a black man and living within that community at the time and her books stand out precisely because they are uncommon.
Some other interesting exceptions occurred during the Harlem Renaissance when you had a white woman like Nancy Cunard create the massive anthology "Negro" or Marc Connelly write a play like "Green Pastures" Langston Hughes referred to this phenomenon rather uncomplimentarily in one of his poems, but the fact remains that the Harlem Renaissance was a time in which it was "popular" to be black. Similarly, during the Civil Rights era and the Black Power movement, there was a certain allure to the whole scene which led to many writers who were not black featuring black protagonists.
However, it is true that most white writers have, in a sense, more freedom to write totally outside their own culture or their own experiences. They have been given this freedom by society, where they are not expected to "uphold the race" and by publishers. However, one of the ongoing issues for many black writers is not just expressing themselves creatively but also how much of an obligation do they have to work to correct injustice through their writing. Should they always be thinking of the white reader who might read their books and find his/her stereotypes confirmed if they described a black man as brutal or unfaithful (a criticism leveled against Alice Walker and Gayl Jones, for example)?
Richard Wright, whose books focused on the daily injustices blacks faced in America, felt that Zora Neale Hurston was wrong in writing her novels about a self-contained black world. I just got a copy of Bronze, the second collection of poetry by Georgia Douglas Johnson, a minor Harlem Renaissance writer. Her first collection was criticized because it dealt with the "heart" and not race, so this was her book of poems on race (although still infused by the heart), and in her last book, she again ignored race.
An interesting example is Charles Perry: his first and only published novel Portrait of a Young Man Drowning, was based on his own experience of juvenile gangsters in his Brooklyn neighborhood, but it features almost exclusively white characters - a decision made, according to Perry's daughter, out of a fear that issues of race could cloud the humanity of the characters. Did this make it harder for him to get published?
Just two more very different examples: Many people still do not realize that Frank Yerby was a black man. His earlier books did not have a picture of him on the dustjacket, and almost all of his books are historical fiction, adventure novels, and so on, set almost exclusively within a white world. When Charles Chesnutt published his first book, even though it used dialect, it was thought that he was white. In fact, he was light skinned enough that he could have easily passed for white, but instead his novels became increasing more "political" and less popular. What had been considered his last novel, The Colonel's Dream, was published while he was still relatively young, and only a few years after his first, and sold poorly. In fact, a recently found later novel of his has just been published, and this is the story of a man who grows up thinking he is black, and discovers that he is white (does this count as a black writer writing a novel with a white protagonist?)
So African American authors have both pressure from others in their communities to write about black people for many different reasons and from publishers who find it easier to keep writers in a 'box', a desire to overcome the prejudices and injustices they have faced, a dramatic history to write about is it surprising that they mostly write about black characters?
A: Most African American writers would be considered 'mid-list' writers. I think that all mid-list writers are having problems now in finding publishers, but yes, this situation is probably exacerbated for black authors. I recently went to a signing by Mary Monroe, who just published her second novel more than 10 years after her first one and the reason was that she could not find a publisher. I can give several other examples of women who have had good critical reviews, or even won prizes for their books, but they wind up with no publisher for a while.
Marketing is, of course, another issue and it is one that becomes very obvious in some bookstores where African American writers are for the most part put in a separate section of the store. In a way, this increases the 'ghettoization' of black authors, by implying that only black readers will be interested in their books. Writers like Toni Morrison obviously have broken out of this, but I think this trend is increasing.
Q: Do you think that popular Black authors are helped a lot by the publicity Oprah gives their work? What other venues or people are helping Black authors?
A: I can't really give a complete list of authors Oprah has selected, but it seems to me that her effect has been much more dramatic on some of the white woman writers she has selected: specifically, I am thinking of her first selection, Jane Hamilton, who was very little known until that happened.
In a sense, Oprah is much more conservative in selecting African Writers: many have already won recognition. Toni Morrison was already a Nobel Laureate, Ernest Gaines had won the National Book Award, Crosby books were already all best sellers, etc. I might be missing someone but offhand I cannot think of an unknown young African American fiction writer who she selected.
interview by Shirley Bryant
IOBA Standard, Vol. II, No. 3 (Dec 2001)
Friday, January 11, 2008
It'll be another few weeks before the distributor has another set of books. UNO's bookstore should have some soon and I've seen 5-6 at Loyola's bookstore and at the Barnes and Noble on the Westbank. Two signed copies will be auctioned off at Aububon Charter School's Spring Gala at the Elms Mansion January 18 (details at the school website).
So far in February, I will be reading in Chicago; Jackson, MS at Lemuria; and Oxford, MS at Square Books. Chicago in February!