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| black women's writing: Black Women’s Writing Gina Wisker, 1992-12-18 This book contains a lively and wide ranging collection of critical essays on Black women's writing from Afro-American, African, South African, British and Caribbean novelists, poets, short story writers and a dramatist. The contributors are black and white, female and male, academics and readers who chart their engagement with and enjoyment of the texts of some of the key figures in black women's writing across several continents. |
| black women's writing: The Cambridge Companion to African American Women's Literature Angelyn Mitchell, Danille K. Taylor, 2009-04-30 The Cambridge Companion to African American Women's Literature covers a period dating back to the eighteenth century. These specially commissioned essays highlight the artistry, complexity and diversity of a literary tradition that ranges from Lucy Terry to Toni Morrison. A wide range of topics are addressed, from the Harlem Renaissance to the Black Arts Movement, and from the performing arts to popular fiction. Together, the essays provide an invaluable guide to a rich, complex tradition of women writers in conversation with each other as they critique American society and influence American letters. Accessible and vibrant, with the needs of undergraduate students in mind, this Companion will be of great interest to anybody who wishes to gain a deeper understanding of this important and vital area of American literature. |
| black women's writing: Black Women, Writing and Identity Carole Boyce-Davies, 2002-09-11 Black Women Writing and Identity is an exciting work by one of the most imaginative and acute writers around. The book explores a complex and fascinating set of interrelated issues, establishing the significance of such wide-ranging subjects as: * re-mapping, re-naming and cultural crossings * tourist ideologies and playful world travelling * gender, heritage and identity * African women's writing and resistance to domination * marginality, effacement and decentering * gender, language and the politics of location Carole Boyce-Davies is at the forefront of attempts to broaden the discourse surrounding the representation of and by black women and women of colour. Black Women Writing and Identity represents an extraordinary achievement in this field, taking our understanding of identity, location and representation to new levels. |
| black women's writing: Girls who Wore Black Ronna Johnson, Nancy McCampbell Grace, 2002 Girls Who Wore Black recovers neglected women writers who deserve more attention for their writing and for their historical role in the mid-century arts scene. This collection of essays reopens and revises the Beat canon, Beat history, and Beat poetics; it is an important contribution to literary criticism and history.-Jennie Skerl, author of A Tawdry Place of Salvation: The Art of Jane Bowles Ronna Johnson and Nancy Grace have done an invaluable service for students of American literature: their collection begins with an essential essay about the three generations of Beat women and then provides fine contributions by critics Anthony Libby, Linda Russo, Maria Damon, Tim Hunt, and others. The value of this book is so clear one must wonder why it wasn't available much earlier.-Linda Wagner-Martin, University of North Carolina, Chapel Hill What do we know about the women who played an important role in creating the literature of the Beat Generation? Until recently, very little. Studies of the movement have effaced or excluded women writers, such as Elise Cowen, Joyce Johnson, Joanne Kyger, Hettie Jones, and Diane Di Prima, each one a significant figure of the postwar Beat communities. Equally free-thinking and innovative as the founding generation of men, women writers, fluent in Beat, hippie, and women's movement idioms, partook of and bridged two important countercultures of the American mid-century. Persistently foregrounding female experiences in the cold war 1950s and in the counterculture 1960s and in every decade up to the millennium, women writing Beat have brought nonconformity, skepticism, and gender dissent to postmodern culture and literary production in the United States and beyond. Ronna C. Johnson is a lecturer in the departments of English and American Studies at Tufts University. Nancy M. Grace is an associate professor in the department of English and director of the Program in Writing at The College of Wooster in Ohio. She is the author of The Feminized Male Character in Twentieth-Century Literature. |
| black women's writing: Specifying Susan Willis, 1987 Focusing on Zola Neale Hurston, Paule Marshall, Toni Morrison, Alice Walker, and Toni Cade Bambara, this book explores both the ways in which black women's fictions have been shaped by the history of the United states, and the ways in which they intervene in that history. She sees the transition from an agrarian to an urban society as the critical moment of that history, and argues that writings by black women articulate that change in their content as well as form. ISBN 0-299-10890-2 : $19.95. |
| black women's writing: Black Women Writers at Work Claudia Tate, 2023-01-10 “Black women writers and critics are acting on the old adage that one must speak for oneself if one wishes to be heard.” —Claudia Tate, from the introduction Long out-of-print, Black Women Writers At Work is a vital contribution to Black literature in the 20th century. Through candid interviews with Maya Angelou, Toni Cade Bambara, Gwendolyn Brooks. Alexis Deveaux, Nikki Giovanni, Kristin Hunter, Gayl Jones, Audre Lorde, Toni Morrison, Tillie Olson, Sonia Sanchez, Ntozake Shange, Alice Walker, Margret Walker, and Shirley Anne Williams, the book highlights the practices and critical linkages between the work and lived experiences of Black women writers whose work laid the foundation for many who have come after. Responding to questions about why and for whom they write, and how they perceive their responsibility to their work, to others, and to society, the featured playwrights, poets, novelists, and essayists provide a window into the connections between their lives and their art. Finally available for a new generation, this classic work has an urgent message for readers and writers today. |
| black women's writing: Post-Colonial and African American Women's Writing Gina Wisker, 2017-03-04 This accessible and unusually wide-ranging book is essential reading for anyone interested in postcolonial and African American women's writing. It provides a valuable gender and culture inflected critical introduction to well established women writers: Toni Morrison, Alice Walker, Margaret Atwood, Suniti Namjoshi, Bessie Head, and others from the U.S.A., India, Africa, Britain, Australia, New Zealand and introduces emergent writers from South East Asia, Cyprus and Oceania. Engaging with and clarifying contested critical areas of feminism and the postcolonial; exploring historical background and cultural context, economic, political, and psychoanalytic influences on gendered experience, it provides a cohesive discussion of key issues such as cultural and gendered identity, motherhood, mothertongue, language, relationships, women's economic constraints and sexual politics. |
| black women's writing: The Cambridge Companion to Modernist Women Writers Maren Tova Linett, 2010-09-23 Women played a central role in literary modernism, theorizing, debating, writing, and publishing the critical and imaginative work that resulted in a new literary culture during the early twentieth century. This volume provides a thorough overview of the main genres, the important issues, and the key figures in women's writing during the years 1890–1945. The essays treat the work of Woolf, Stein, Cather, H. D. Barnes, Hurston, and many others in detail; they also explore women's salons, little magazines, activism, photography, film criticism, and dance. Written especially for this Companion, these lively essays introduce students and scholars to the vibrant field of women's modernism. |
| black women's writing: Writing through Jane Crow Ayesha K. Hardison, 2014-05-13 In Writing through Jane Crow, Ayesha Hardison examines African American literature and its representation of black women during the pivotal but frequently overlooked decades of the 1940s and 1950s. At the height of Jim Crow racial segregation—a time of transition between the Harlem Renaissance and the Black Arts movement and between World War II and the modern civil rights movement—black writers also addressed the effects of Jane Crow, the interconnected racial, gender, and sexual oppression that black women experienced. Hardison maps the contours of this literary moment with the understudied works of well-known writers like Gwendolyn Brooks, Zora Neale Hurston, Ann Petry, and Richard Wright as well as the writings of neglected figures like Curtis Lucas, Pauli Murray, and Era Bell Thompson. By shifting her focus from the canonical works of male writers who dominated the period, the author recovers the work of black women writers. Hardison shows how their texts anticipated the renaissance of black women’s writing in later decades and initiates new conversations on the representation of women in texts by black male writers. She draws on a rich collection of memoirs, music, etiquette guides, and comics to further reveal the texture and tensions of the era. A 2014 CHOICE Outstanding Academic Title |
| black women's writing: Worrying the Line Cheryl A. Wall, 2005 In blues music, worrying the line is the technique of breaking up a phrase by changing pitch, adding a shout, or repeating words in order to emphasize, clarify, or subvert a moment in a song. Cheryl A. Wall applies this term to fiction and nonfiction wr |
| black women's writing: Harlem's Glory Lorraine Elena Roses, Ruth Elizabeth Randolph, 1996 In poems, stories, memoirs, and essays about color and culture, prejudice and love, and feminine trials, dozens of African-American women writers--some famous, many just discovered--give us a sense of a distinct inner voice and an engagement with their larger double culture. Harlem's Glory unfolds a rich tradition of writing by African-American women, hitherto mostly hidden, in the first half of the twentieth century. In historical context, with special emphasis on matters of race and gender, are the words of luminaries like Zora Neale Hurston and Georgia Douglas Johnson as well as rare, previously unpublished writings by figures like Angelina Weld Grimké, Elise Johnson McDougald, and Regina Andrews, all culled from archives and arcane magazines. Editors Lorraine Elena Roses and Ruth Elizabeth Randolph arrange their selections to reveal not just the little-suspected extent of black women's writing, but its prodigious existence beyond the cultural confines of New York City. Harlem's Glory also shows how literary creativity often coexisted with social activism in the works of African-American women. This volume is full of surprises about the power and diversity of the writers and genres. The depth, the wit, and the reach of the selections are astonishing. With its wealth of discoveries and rediscoveries, and its new slant on the familiar, all elegantly presented and deftly edited, the book will compel a reassessment of writing by African-American women and its place in twentieth-century American literary and historical culture. |
| black women's writing: Black Women's Writing Gina Wisker, 1993-01 Black Women's Writing contains a lively and wide-ranging collection of critical essays on Black women's writing from Afro-American, African, South African, British and Caribbean novelists, poets, short-story writers and a dramatist. For the reader, student and teacher it provides a useful introduction to much of the range of writing by Black women. The focus is on writing, producing, reading and teaching the texts as creative, imaginative and culturally engaged works which give a voice to a variety of Black women's experiences. The contributors are Black and White, female and male, academics and readers who chart their engagement with and enjoyment of the texts of some of the key figures in Black women's writing across several continents. This is an exciting and accessible book which will stimulate the reader's interest in what is arguably some of the best contemporary writing.--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
| black women's writing: Feminism and Black Women's Creative Writing Aduke Adebayo, 1996 |
| black women's writing: Black Women Writing Autobiography Joanne M. Braxton, 1989 As black American women, we are born into a mystic sisterhood, and we live our lives within a magic circle, a realm of shared language, reference, and allusion within the veil of our blackness and our femaleness. We have been as invisible to the dominant culture as rain; we have been knowers, but we have not been known. Joanne Braxton argues for a redefinition of the genre of black American autobiography to include the images of women as well as their memoirs, reminiscences, diaries, and journals—as a corrective to both black and feminist literary criticism. Beginning with slave narratives and concluding with modern autobiography, she deals with individual works as representing stages in a continuum and situates these works in the context of other writings by both black and white writers. Braxton demonstrates that the criteria used to define the slave narrative genre are inadequate for analyzing Harriet Linda Brent Jacobs's pseudonymously publishedIncidents in the Life of a Slave Girl: Written by Herself(1861). She examines sass as a mode of women's discourse and a weapon of self-defense, and she introduces the outraged mother as a parallel to the articulate hero archetype. Not even emancipation authorized black women to define themselves or address an audience. Late-nineteenth-century accounts in the form of confessional spiritual autobiographies, travelogue/adventure stories, and slave memoirs enabled such women as Jarena Lee, Rebecca Cox Jackson, Elizabeth Keckley, Susie King Taylor, as well as Harriet Tubman and Sojourner Truth to tell their own extraordinary stories and to shed light on the thousands of lives obscured by illiteracy and sexual and racial oppression. In her diaries, Charlotte Forten Grimké, the gifted poet, epitomizes the problems faced by a well-educated, extremely articulate black woman attempting to find a public voice in America. Moving into the twentieth century, Braxton analyzes the memoir of Ida B. Wells, journalist and anti-lynching activist, and the work of Zora Neale Hurston and Era Bell Thompson. They represent the first generation of black female autobiographers who did not continually come into contact with former slaves and who transcended the essential struggle for survival that occupied earlier writings. For the contemporary black woman autobiographer, the quest for personal fulfillment is the central theme. Braxton concludes with Maya Angelou'sI Know Why the Caged Bird Sings(1996), which represents the black woman of the 1960s who has found the place to recreate the self in her own image—the place all the others had been searching for. Author note:Joanne M. Braxtonis Cummings Professor of American Studies and English at the College of William and Mary and author ofSometimes I think of Maryland, a collection of poems. |
| black women's writing: New Criticism and Pedagogical Directions for Contemporary Black Women Writers LaToya Jefferson-James, 2022 New Criticism and Pedagogical Directions for Contemporary Black Women Writers spans the contemporary era into the AfroFuture. It begins with Ann Petry, who has been forcibly mashed into masculinized critical paradigms, and ends by introducing audiences to Black speculative and Science Fiction writers. |
| black women's writing: Letters to the Future Erica Hunt, Dawn Lundy Martin, 2018 A collection of poems, essays, elder conversations, and visual works, LETTERS TO THE FUTURE: BLACK WOMEN / RADICAL WRITING, celebrates temporal, spatial, formal, and linguistically innovative literature. The anthology collects late-modern and contemporary work by Black women from the United States, England, Canada, and the Caribbean--work that challenges readers to participate in meaning making. Because one contextual framework for the collection is art as a form of epistemology, the writing in the anthology is the kind of work driven by the writer's desire to radically present, uncovering what she knows and does not know, as well as critically addressing the future.--Amazon.com. |
| black women's writing: Diasporic Women's Writing of the Black Atlantic Emilia María Durán-Almarza, Esther Álvarez López, 2013-10-30 This book brings together a complete set of approaches to works by female authors that articulate the black Atlantic in relation to the interplay of race, class, and gender. The chapters provide the grounds to (en)gender a more complex understanding of the scattered geographies of the African diaspora in the Atlantic basin. The variety of approaches displayed bears witness to the vitality of a field that, over the years, has become a diasporic formation itself as it incorporates critical insights and theoretical frameworks from multiple disciplines in the social sciences and the humanities, thus exposing the manifold character of (black) diasporic interconnections within and beyond the Atlantic. Focusing on a wide array of contemporary literary and performance texts by women writers and performers from diverse locations including the Caribbean, Canada, Africa, the US, and the UK, chapters visit genres such as performance art, the novel, science fiction, short stories, and music. For these purposes, the volume is organized around two significant dimensions of diasporas: on the one hand, the material—corporeal and spatial—locations where those displacements associated with travel and exile occur, and, on the other, the fluid environments and networks that connect distant places, cultures, and times. This collection explores the ways in which women of African descent shape the cultures and histories in the modern, colonial, and postcolonial Atlantic worlds. |
| black women's writing: Reading Contemporary Black British and African American Women Writers Jean Wyatt, Sheldon George, 2020-01-28 Contemporary African American and Black British Women Writers: Narrative, Race, Ethics brings together British and American scholars to explore how, in texts by contemporary black women writers in the U. S. and Britain, formal narrative techniques express new understandings of race or stimulate ethical thinking about race in a reader. Taken together, the essays also demonstrate that black women writers from both sides of the Atlantic borrow formal structures and literary techniques from one another to describe the workings of structural racism in the daily lives of black subjects and to provoke readers to think anew about race. Narratology has only recently begun to use race as a category of narrative theory. This collection seeks both to show the ethical effects of narrative form on individual readers and to foster reconceptualizations of narrative theory that account for the workings of race within literature and culture. |
| black women's writing: Toward an Intellectual History of Black Women Mia E. Bay, Farah J. Griffin, Martha S. Jones, Barbara D. Savage, 2015-04-13 Despite recent advances in the study of black thought, black women intellectuals remain often neglected. This collection of essays by fifteen scholars of history and literature establishes black women's places in intellectual history by engaging the work of writers, educators, activists, religious leaders, and social reformers in the United States, Africa, and the Caribbean. Dedicated to recovering the contributions of thinkers marginalized by both their race and their gender, these essays uncover the work of unconventional intellectuals, both formally educated and self-taught, and explore the broad community of ideas in which their work participated. The end result is a field-defining and innovative volume that addresses topics ranging from religion and slavery to the politicized and gendered reappraisal of the black female body in contemporary culture. Contributors are Mia E. Bay, Judith Byfield, Alexandra Cornelius, Thadious Davis, Corinne T. Field, Arlette Frund, Kaiama L. Glover, Farah J. Griffin, Martha S. Jones, Natasha Lightfoot, Sherie Randolph, Barbara D. Savage, Jon Sensbach, Maboula Soumahoro, and Cheryl Wall. |
| black women's writing: Classic African American Women's Narratives William L. Andrews, 2003-01-16 Classic African American Women's Narratives offers teachers, students, and general readers a one-volume collection of the most memorable and important prose written by African American women before 1865. The book reproduces the canon of African American women's fiction and autobiography during the slavery era in U.S. history. Each text in the volume represents a first. Maria Stewart's Religion and the Pure Principles of Morality (1831) was the first political tract authored by an African American woman. Jarena Lee's Life and Religious Experience (1836) was the first African American woman's spiritual autobiography. The Narrative of Sojourner Truth (1850) was the first slave narrative to focus on the experience of a female slave in the United States. Frances E. W. Harper's The Two Offers (1859) was the first short story published by an African American woman. Harriet E. Wilson's Our Nig (1859) was the first novel written by an African American woman. Harriet Jacob's Incidents in the Life of a Slave Girl (1861) was the first autobiography authored by an African American woman. Charlotte Forten's Life on the Sea Islands (1864) was the first contribution by an African American woman to a major American literary magazine (the Atlantic Monthly). Complemented with an introduction by William L. Andrews, this is the only one-volume collection to gather the most important works of the first great era of African American women's writing. |
| black women's writing: Black Women, Writing, and Identity Carole Boyce Davies, 1994 A superb study of black women's writing, taking our understanding of identity, location and representation to new levels. A major contribution to a range of related fields including feminist, cultural and postcolonial studies. |
| black women's writing: Black Internationalist Feminism Cheryl Higashida, 2011-12-01 Black Internationalist Feminism examines how African American women writers affiliated themselves with the post-World War II Black Communist Left and developed a distinct strand of feminism. This vital yet largely overlooked feminist tradition built upon and critically retheorized the postwar Left's nationalist internationalism, which connected the liberation of Blacks in the United States to the liberation of Third World nations and the worldwide proletariat. Black internationalist feminism critiques racist, heteronormative, and masculinist articulations of nationalism while maintaining the importance of national liberation movements for achieving Black women's social, political, and economic rights. Cheryl Higashida shows how Claudia Jones, Lorraine Hansberry, Alice Childress, Rosa Guy, Audre Lorde, and Maya Angelou worked within and against established literary forms to demonstrate that nationalist internationalism was linked to struggles against heterosexism and patriarchy. Exploring a diverse range of plays, novels, essays, poetry, and reportage, Higashida illustrates how literature is a crucial lens for studying Black internationalist feminism because these authors were at the forefront of bringing the perspectives and problems of black women to light against their marginalization and silencing. In examining writing by Black Left women from 1945–1995, Black Internationalist Feminism contributes to recent efforts to rehistoricize the Old Left, Civil Rights, Black Power, and second-wave Black women's movements. |
| black women's writing: Surfacing Desiree Lewis, Gabeba Baderoon, 2021-04-01 An anthology dedicated to contemporary Black South African feminist writing influential to today's scholars and radical thinkers Surfacing: On Being Black and Feminist in South Africa is the first collection dedicated to contemporary Black South African feminist perspectives. Leading feminist theorist, Desiree Lewis, and poet and feminist scholar, Gabeba Baderoon, have curated contributions by some of the finest writers and thought leaders into an essential resource. Radical polemic sits side by side with personal essays, and critical theory coexists with rich and stirring life histories. The collection demonstrates a dazzling range of feminist voices from established scholars and authors to emerging thinkers, activists and creative practitioners. The writers within these pages use creative expression, photography and poetry in eclectic, interdisciplinary ways to unearth and interrogate representations of blackness, sexuality, girlhood, history, divinity, and other themes. Surfacing asks: what do the African feminist traditions that exist outside the canon look and feel like? What complex cultural logics are at work outside the centers of power? How do spirituality and feminism influence each other? What are the histories and experiences of queer Africans? What imaginative forms can feminist activism take? Surfacing is indispensable to anyone interested in feminism from Africa, which its contributors show in vivid and challenging conversation with the rest of the world. It will appeal to a diverse audience of students, activists, critical thinkers, academics and artists. |
| black women's writing: Black American Women's Writings Eva Lennox Birch, 2016-07-01 This work discusses a range of novels, short stories and essays by black American women writers from the Harlem Renaissance to the present time. It begins with a survey of 19th-century black women's slave narratives, early sentimental novels and autobiographies and then focuses on six writers: Zora Neale Hurston, Paule Marshall, Audre Lorde, Toni Morrison, Alice Walker and Maya Angelou. The text shows how these writers have developed the preoccupations, themes and narrative strategies of their literary ancestors. |
| black women's writing: Black Women Writing Autobiography Joanne M. Braxton, 1989 Argues for a redefinition of the genre of black American autobiography to include the images of women as well as their memoirs, reminiscences, diaries, and journals - as a corrective to both black and feminist literary criticism. |
| black women's writing: Transforming Scriptures Katherine Clay Bassard, 2011 Transforming Scriptures is the first sustained treatment of African American women writers' intellectual, even theological, engagements with the book Northrop Frye referred to as the “great code” of Western civilization. Katherine Clay Bassard discusses how such texts respond as a collective “literary witness” to the use of the Bible for purposes of social domination. |
| black women's writing: What's a Black Critic to Do? Donna Bailey Nurse, 2003 This groundbreaking collection of in-depth profiles, unique interviews, incisive essays and succinct reviews on such well-known writers as Toni Morrison, Jamaica Kincaid, Andre Alexis, Dionne Brand, Austin Clarke, Edwidge Danticat, Nalo Hopkinson and Lawrence Hill, among many others, constitutes a frank conversation on the significance of race in the work of contemporary black writers. This book is for anyone looking for a way to talk about the often-taboo topic of race, as it appears in novels, movies and plays. Of interest to black Canadian and African-American readers as well as teachers, librarians and book club members, the book provides a vital snapshot of contemporary culture. |
| black women's writing: The Postgraduate Research Handbook Gina Wisker, 2017-09-16 This lively and rigorous book provides guidance on planning and conducting postgraduate research. Divided into four parts, each of which looks at a different stage of the process, it covers everything from choosing a research area and selecting appropriate methodologies to analysing data and learning from feedback. Chapters contain both active and reflective tasks to help readers develop the skills needed to produce a high-quality dissertation or thesis and offer supportive advice on establishing successful working relationships with supervisors and peers. Clear and accessible in its approach, this book is an indispensable introduction to successful research for postgraduates of all disciplines. New to this Edition: - Fully revised and improved sections on methodology, theorising, engaging with the literature and life after research - Additional guidance on developing soft skills, such as communication and time management, and becoming an active member of the academic community |
| black women's writing: Reading Contemporary African American Literature Beauty Bragg, 2014-11-12 Reading Contemporary African American Literature focuses on the subject of contemporary African American popular fiction by women. Bragg’s study addresses why such work should be the subject of scholarly examination, describes the events and attitudes which account for the critical neglect of this body of work, and models a critical approach to such narratives that demonstrates the distinctive ways in which this literature captures the complexities of post-civil rights era black experiences. In making her arguments regarding the value of popular writing, Bragg argues that black women’s popular fiction foregrounds gender in ways that are frequently missing from other modes of narrative production. They exhibit a responsiveness and timeliness to the shifting social terrain which is reflected in the rapidly shifting styles and themes which characterize popular fiction. In doing so, they extend the historical function of African American literature by continuing to engage the black body as a symbol of political meaning in the social context of the United States. In popular literature Beauty Bragg locates a space from which black women engage a variety of public discourses. |
| black women's writing: The Strong Black Woman Marita Golden, 2021-10-12 Major Health Crisis Among Black Women Generated from Systemic Racism “Marita Golden’s The Strong Black Woman busts the myth that Black women are fierce and resilient by letting the reader in under the mask that proclaims ‘Black don’t crack.’” ―Karen Arrington, coach, mentor, philanthropist, and author of NAACP Image Award-winning Your Next Level Life Sarton Women’s Book Award #1 New Release in Reference Meet Black women who have learned through hard lessons the importance of self-care and how to break through the cultural and family resistance to seeking therapy and professional mental health care. The Strong Black Woman Syndrome. For generations, in response to systemic racism, Black women and African American culture created the persona of the Strong Black Woman, a woman who, motivated by service and sacrifice, handles, manages, and overcomes any problem, any obstacle. The syndrome calls on Black women to be the problem-solvers and chief caretakers for everyone in their lives―never buckling, never feeling vulnerable, and never bothering with their pain. Hidden mental health crisis of anxiety and depression. To be a Black woman in America is to know you cannot protect your children or guarantee their safety, your value is consistently questioned, and even being “twice as good” is often not good enough. Consequently, Black women disproportionately experience anxiety and depression. Studies now conclusively connect racism and mental health―and physical health. Take care of your emotional health. You deserve to be emotionally healthy for yourself and those you love. More and more young Black women are re-examining the Strong Black Woman syndrome and engaging in self-care practices that change their lives. Hear stories of Black women who: Asked for help Built lives that offer healing Learned to accept healing If you have read The Unapologetic Guide to Black Mental Health, The Racial Healing Handbook, or Black Fatigue, The Strong Black Woman is your next read. |
| black women's writing: Visionary Women Writers of Chicago's Black Arts Movement Carmen L. Phelps, 2013 A disproportionate number of male writers, including such figures as Amiri Baraka, Larry Neal, Maulana Karenga, and Haki Madhubuti, continue to be credited for constructing the iconic and ideological foundations for what would be perpetuated as the Black Art Movement. Though there has arisen an increasing amount of scholarship that recognizes leading women artists, activists, and leaders of this period, these new perspectives have yet to recognize adequately the ways women aspired to far more than a mere dismantling of male-oriented ideals. In Visionary Women Writers of Chicago's Black Arts Movement, Carmen L. Phelps examines the work of several women artists working in Chicago, a key focal point for the energy and production of the movement. Angela Jackson, Johari Amiri, and Carolyn Rodgers reflect in their writing specific cultural, local, and regional insights, and demonstrate the capaciousness of Black Art rather than its constraints. Expanding from these three writers, Phelps analyzes the breadth of women's writing in BAM. In doing so, Phelps argues that these and other women attained advantageous and unique positions to represent the potential of the BAM aesthetic, even if their experiences and artistic perspectives were informed by both social conventions and constraints. In this book, Phelps's examination brings forward a powerful and crucial contribution to the aesthetics and history of a movement that still inspires. |
| black women's writing: Loud Black Girls: 20 Black Women Writers Ask: What’s Next? Yomi Adegoke, Elizabeth Uviebinené, 2020-10-01 An important and timely anthology of black British writing, edited and curated by the authors of the highly acclaimed, ground-breaking Slay In Your Lane. Slay in Your Lane Presents: Loud Black Girls features essays from the diverse voices of twenty established and emerging black British writers. |
| black women's writing: Difficult Diasporas Samantha Pinto, 2013-09-06 In this comparative study of contemporary Black Atlantic women writers, Samantha Pinto demonstrates the crucial role of aesthetics in defining the relationship between race, gender, and location. Thinking beyond national identity to include African, African American, Afro-Caribbean, and Black British literature, Difficult Diasporas brings together an innovative archive of twentieth-century texts marked by their break with conventional literary structures. These understudied resources mix genres, as in the memoir/ethnography/travel narrative Tell My Horse by Zora Neale Hurston, and eschew linear narratives, as illustrated in the book-length, non-narrative poem by M. Nourbese Philip, She Tries Her Tongue, Her Silence Softly Breaks. Such an aesthetics, which protests against stable categories and fixed divisions, both reveals and obscures that which it seeks to represent: the experiences of Black women writers in the African Diaspora. Drawing on postcolonial and feminist scholarship in her study of authors such as Jackie Kay, Elizabeth Alexander, Erna Brodber, Ama Ata Aidoo, among others, Pinto argues for the critical importance of cultural form and demands that we resist the impulse to prioritize traditional notions of geographic boundaries. Locating correspondences between seemingly disparate times and places, and across genres, Pinto fully engages the unique possibilities of literature and culture to redefine race and gender studies. Samantha Pinto is Assistant Professor of Feminist Literary and Cultural Studies in the English Department at Georgetown University. In the American Literatures Initiative |
| black women's writing: Love and Space in Contemporary African Diasporic Women’s Writing Jennifer Leetsch, 2021-07-16 This book sets out to investigate how contemporary African diasporic women writers respond to the imbalances, pressures and crises of twenty-first-century globalization by querying the boundaries between two separate conceptual domains: love and space. The study breaks new ground by systematically bringing together critical love studies with research into the cultures of migration, diaspora and refuge. Examining a notable tendency among current black feminist writers, poets and performers to insist on the affective dimension of world-making, the book ponders strategies of reconfiguring postcolonial discourses. Indeed, the analyses of literary works and intermedia performances by Chimamanda Adichie, Zadie Smith, Helen Oyeyemi, Shailja Patel and Warsan Shire reveal an urge of moving beyond a familiar insistence on processes of alienation or rupture and towards a new, reparative emphasis on connection and intimacy – to imagine possible inhabitable worlds. |
| black women's writing: Black Women as Custodians of History: Unsung Rebel (M)Others in African American and Afro-Cuban Women's Writing Paula Sanmartin, 2014-03-28 This book is an essential addition to the study of comparative black literature of the Americas; it will also fill the gap that exists on theoretical studies exploring black women's writing from the Spanish Caribbean. This book examines literary representations of the historic roots of black women's resistance in the United States and Cuba by studying the following texts by both African American and Afro-Cuban women from four different literary genres (autobiographical slave narrative, contemporary novel on slavery, testimonial narrative, and poetry): Incidents in the Life of a Slave Girl (1861) by the African American former slave Harriet Jacobs, Dessa Rose (1986) by the African American writer Sherley Ann Williams, Reyita, sencillamente: testimonio de una negra cubana nonagenarian [Simply Reyita. Testimonial Narrative of a Nonagenarian Black Cuban Woman] (1996), written/transcribed by the Afro-Cuban historian Daisy Rubiera Castillo from her interviews with her mother María de los Reyes Castillo Bueno, Reyita, and a selection of poems from the contemporary Afro-Cuban poets Nancy Morejón and Georgina Herrera. The study argues that the writers participate in black women's self-inscription in the historical process by positioning themselves as subjects of their history and seizing discursive control of their (hi)stories. Although the texts form part of separate discourses, the book explores the commonalities of the rhetorical devices and narrative strategies employed by the authors as they disassemble racist and sexist stereotypes, (re)constructing black female subjectivity through an image of active resistance against oppression, one that authorizes unconventional definitions of womanhood and motherhood. The book shows that in the womens' revisions of national history, their writings also demonstrate the pervasive role of racial and gender categories in the creation of a discourse of national identity, while promoting a historiography constructed within flexible borders that need to be negotiated constantly. The study's engagement in crosscultural exploration constitutes a step further in opening connections with a comparative literary study that is theoretically engaging, in order to include Afro-Cuban women writers and Afro-Caribbean scholars into scholarly discussions in which African American women have already managed to participate with a series of critical texts. The book explores connections between methods and perspectives derived from Western theories and from Caribbean and Black studies, while recognizing the black women authors studied as critics and scholars. In this sense, the book includes some of the writers' own commentaries about their work, taken from interviews (many of them conducted by the author Paula Sanmartín herself), as well as critical essays and letters. Black Women as Custodians of History adds a new dimension to the body of existing criticism by challenging the ways assumptions have shaped how literature is read by black women writers. Paula Sanmartín's study is a vivid demonstration of the strengths of embarking on multidisciplinary study. This book will be useful to several disciplines and areas of study, such as African diaspora studies, African American studies, (Afro) Latin American and (Afro) Caribbean studies, women's studies, genre studies, and slavery studies. |
| black women's writing: Disarming the Nation Elizabeth Young, 1999-12-15 In a study that will radically shift our understanding of Civil War literature, Elizabeth Young shows that American women writers have been profoundly influenced by the Civil War and that, in turn, their works have contributed powerfully to conceptions of the war and its aftermath. Offering fascinating reassessments of works by white writers such as Harriet Beecher Stowe, Louisa May Alcott, and Margaret Mitchell and African-American writers including Elizabeth Keckley, Frances Harper, and Margaret Walker, Young also highlights crucial but lesser-known texts such as the memoirs of women who masqueraded as soldiers. In each case she explores the interdependence of gender with issues of race, sexuality, region, and nation. Combining literary analysis, cultural history, and feminist theory, Disarming the Nation argues that the Civil War functioned in women's writings to connect female bodies with the body politic. Women writers used the idea of civil war as a metaphor to represent struggles between and within women—including struggles against the cultural prescriptions of civility. At the same time, these writers also reimagined the nation itself, foregrounding women in their visions of America at war and in peace. In a substantial afterword, Young shows how contemporary black and white women—including those who crossdress in Civil War reenactments—continue to reshape the meanings of the war in ways startlingly similar to their nineteenth-century counterparts. Learned, witty, and accessible, Disarming the Nation provides fresh and compelling perspectives on the Civil War, women's writing, and the many unresolved civil wars within American culture today. |
| black women's writing: The Sexual Mountain and Black Women Writers Calvin C. Hernton, 1990-10-27 A bold exploration of the controversial role that black women writers have played in the making of African-American literature by the bestselling author of Sex and Racism in America. Confirms that black women authors are celebrating a literary Fourth of July in America.--Plain Dealer. (Anchor) |
| black women's writing: The Changing Same" Deborah E. McDowell, 1995-04-22 The Changing Same examines defining moments in African American women's fiction and its reception: the Women's Era of the 1890s, the Harlem Renaissance, and the New Black Renaissance of the 1970s and 1980s. Deborah McDowell maps this history in readings of Emma Dunham Kelley, Frances E. W. Harper, Jessie Fauset, Nella Larsen, Alice Walker, Toni Morrison, and Sherley Anne Williams. She examines representations of slavery, sexuality, and homoeroticism; the reception of African American women's fiction in the 1980s; and African American feminist writing in the Age of Theory. |
| black women's writing: The Woman in Black Susan Hill, 2016-12-19 “Wajahnya sarat dengki dan keputusasaan, seakan tengah mencari sesuatu yang telah direnggut darinya. Dan, wanita itu bersumpah mencurahkan seluruh kebencian dan kesumat dalam dirinya.” Ketika Arthur Kipps, pengacara muda, ditugaskan untuk menghadiri pemakaman seorang klien di kota kecil Crythin Gifford, dia menganggapnya sebagai batu pijakan untuk naik jabatan. Sang klien, Nyonya Drablow, tinggal sendiri di Eel Marsh House yang dikepung rawa-rawa berkabut. Rumah besar dan kuno ini yang hanya dapat didatangi ketika air sedang surut. Ternyata tak ada warga Crythin Gifford yang sudi berurusan dengan Nyonya Drablow maupun Eel Marsh House. Mereka bilang tempat itu dikutuk, sering terdengar lolongan mengenaskan dari balik kabut. Kipps menguatkan diri dan nekad bermalam di Eel Marsh House, meski banyak orang mencegahnya. Di rumah angker itu, Kipps bertemu dengan sesosok wanita bergaun hitam. Sosok arwah legenda yang kemunculannya selalu diikuti oleh kematian misterius. Sosok penuh dendam dan kebencian yang selalu ingin memakan korban. Dan kini dia mengejar Kipps. Siapakah sebenarnya wanita bergaun hitam itu? [Mizan Publishing, Qanita, Novel, Klasik, Terjemahan, Indonesia] |
| black women's writing: Watchers and Seekers Rhonda Cobham, Merle Collins, 1987 Anthology of some of the most exciting work being written and performed by Black women in Britain. Poems and short stories by African and Asian women, the collection casts an incisive eye on social and political issues and the experience of racism in Britain today. |
Contemporary Black British Women’s Writing: Experiments in …
Oct 3, 2023 · This special issue on Contemporary Black British Women’s Writing showcases the range and variety of literary creativity of British women of African and African Caribbean …
Black American Women's Writing - api.pageplace.de
In discussion of white women’s writing, white women critics have found tools of analysis in feminist theory, whether it be from the disparate locations of the theoretical positions of Michele
BLACK WOMEN, WRITING AND IDENTITY
BLACK WOMEN, WRITING AND IDENTITY Migrations of the subject Carole Boyce Davies London and New York
And so I Write You: Practices in Black Women’s Diaspora
Engaging black women’s autobiography and black feminist thinking, the essay sets forth an assortment of letters, phone calls, emails and poetry from across the geographic black …
Modernity Through Black Women’s Fiction. - rmmla.org
Tracing her argument through the works of Toni Morrison, Alice Walker, and Gloria Naylor, Taylor finds a theory of storytelling that embeds critical, relational, and social principles.
Black women’s quest for identity: A critical Study of Lorraine ...
Black feminist perspectives focus on the social domination on the basis of gender, race and class oppression. These oppressions are densely interwoven into social structures and work …
The Rise of Feminism and the Growth of Black American …
innately feminists. Black women writing exhibits and constructs a Black women‟s literary tradition that is inherently feminist. Barbara Smith, an influential Black feminist critic, states that the …
Black British Women’s Writing in the 1970s and Beyond
This collection bridges gaps in studies of Black British literary studies that are often exclusively male and occasionally ignore the presence of women writers from this genre in the decades …
WRITING BLACK WOMANHOOD: FEMINIST WRITING BY …
I examine how Bessie Head portrays black women's experiences in South Africa, her country of birth, and Botswana, where she lived first in exile before gaining citizenship.
The role of Black women in political leadership: Overcoming …
Black Women’s Rights: Leadership and the Circularities of Power explores the transformative leadership of Black women in politics, emphasising their role in reshaping political power …
TO BE BLACK, FEMALE AND EVERYTHING IN BETWEEN
Black women’s progress and existence. Inspired by Bessie Head, Boswell states the ways in which Head’s previously banned writing, and way of storytelling, opened up a new world for …
Black Women in American - University of Hawaiʻi at Hilo
In William L. Andrews' Classic African American Women's Narratives, he describes her desire to “forge a bond of sympathetic identification between white women of the North and 'slave …
Black women writing and identity| Migration of the subject
Black Women, Writing and Identity represents an extraordinary achievement in this field, taking our understanding of identity, location and representation to new levels.
Yvonne Vera’s Without a Name and Under the Tongue
Vera’s writing occupies a unique place in African writing on violence, gender and the discourse on the nation and identity. Her own motivations are uncovered in this
Cultural Struggle and Literary History: African-American …
chronological analysis of black American women's culture (ca. 1840-1940) between two chapters, subtitled "Rethinking Black Feminist Theory" (chap. 1) and "Rethink- ing Black Cultural Politics" …
Episode 109: Tamika L. Carey - Pedagogue
In my African American women's rhetoric classes, we do a similar work. I think those are often a little bit more critical because I'm bringing an explicit feminist lens to that particular class.
“IS THIS WHAT MOTHERHOOD IS?”: AMBIVALENT …
These canonical texts align with a tradition of strong black mothers in black women’s writing. In the introduction to Black-Eyed Susans: Classic Stories by and About Black Women, Mary …
THE DAUGHTERS' ARRIVAL The Earliest Black Women's …
African Americanism as a discourse derives its power from its self-reflexivity, its self-consciousness about both the possibilities and the risks in written language.
Ecriture Feminine Reconfiguration of Black Woman’s Identity …
Black female writers manipulate dominant male discourses’ language and use different discursive strategies to (re)configure the category of women. Afro-American female writers employ …
THIRTY YEARS OF BLACK AMERICAN LITERATURE AND …
Black writers have been publishing their work for centuries, this has been an era of institutionalizing and diversifying literature, identifying and creating a market for it, and …
Contemporary Black British Women’s Writing: Experiments in …
Oct 3, 2023 · This special issue on Contemporary Black British Women’s Writing showcases the range and variety of literary creativity of British women of African and African Caribbean …
Black American Women's Writing - api.pageplace.de
In discussion of white women’s writing, white women critics have found tools of analysis in feminist theory, whether it be from the disparate locations of the theoretical positions of Michele
BLACK WOMEN, WRITING AND IDENTITY
BLACK WOMEN, WRITING AND IDENTITY Migrations of the subject Carole Boyce Davies London and New York
And so I Write You: Practices in Black Women’s Diaspora
Engaging black women’s autobiography and black feminist thinking, the essay sets forth an assortment of letters, phone calls, emails and poetry from across the geographic black …
Modernity Through Black Women’s Fiction. - rmmla.org
Tracing her argument through the works of Toni Morrison, Alice Walker, and Gloria Naylor, Taylor finds a theory of storytelling that embeds critical, relational, and social principles.
Black women’s quest for identity: A critical Study of Lorraine ...
Black feminist perspectives focus on the social domination on the basis of gender, race and class oppression. These oppressions are densely interwoven into social structures and work …
The Rise of Feminism and the Growth of Black American …
innately feminists. Black women writing exhibits and constructs a Black women‟s literary tradition that is inherently feminist. Barbara Smith, an influential Black feminist critic, states that the …
Black British Women’s Writing in the 1970s and Beyond
This collection bridges gaps in studies of Black British literary studies that are often exclusively male and occasionally ignore the presence of women writers from this genre in the decades …
WRITING BLACK WOMANHOOD: FEMINIST WRITING BY …
I examine how Bessie Head portrays black women's experiences in South Africa, her country of birth, and Botswana, where she lived first in exile before gaining citizenship.
The role of Black women in political leadership: Overcoming …
Black Women’s Rights: Leadership and the Circularities of Power explores the transformative leadership of Black women in politics, emphasising their role in reshaping political power …
TO BE BLACK, FEMALE AND EVERYTHING IN BETWEEN
Black women’s progress and existence. Inspired by Bessie Head, Boswell states the ways in which Head’s previously banned writing, and way of storytelling, opened up a new world for …
Black Women in American - University of Hawaiʻi at Hilo
In William L. Andrews' Classic African American Women's Narratives, he describes her desire to “forge a bond of sympathetic identification between white women of the North and 'slave …
Black women writing and identity| Migration of the subject
Black Women, Writing and Identity represents an extraordinary achievement in this field, taking our understanding of identity, location and representation to new levels.
Yvonne Vera’s Without a Name and Under the Tongue
Vera’s writing occupies a unique place in African writing on violence, gender and the discourse on the nation and identity. Her own motivations are uncovered in this
Cultural Struggle and Literary History: African-American …
chronological analysis of black American women's culture (ca. 1840-1940) between two chapters, subtitled "Rethinking Black Feminist Theory" (chap. 1) and "Rethink- ing Black Cultural …
Episode 109: Tamika L. Carey - Pedagogue
In my African American women's rhetoric classes, we do a similar work. I think those are often a little bit more critical because I'm bringing an explicit feminist lens to that particular class.
“IS THIS WHAT MOTHERHOOD IS?”: AMBIVALENT …
These canonical texts align with a tradition of strong black mothers in black women’s writing. In the introduction to Black-Eyed Susans: Classic Stories by and About Black Women, Mary …
THE DAUGHTERS' ARRIVAL The Earliest Black Women's …
African Americanism as a discourse derives its power from its self-reflexivity, its self-consciousness about both the possibilities and the risks in written language.
Ecriture Feminine Reconfiguration of Black Woman’s Identity …
Black female writers manipulate dominant male discourses’ language and use different discursive strategies to (re)configure the category of women. Afro-American female writers employ …
THIRTY YEARS OF BLACK AMERICAN LITERATURE AND …
Black writers have been publishing their work for centuries, this has been an era of institutionalizing and diversifying literature, identifying and creating a market for it, and …
