Books by Kola Boof
River Woman (Poems, Feb. 10, 2004) /
Long Train to the Redeeming
Sin-Stories About African Women
(April 6, 2004)
Flesh and the Devil: A Novel
(May 11, 2004) /
Diary of a Lost Girl
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“Fraud” (A Poem)
By Kola Boof
The White Caucasoid has a
who is not
He's the motherfucker I came all this way to Kill
--mistaking my nilotic blood
for her cold Ivory snot
when I had my first baby
When I had my first baby . . . this White woman expected
that I would put my baby down
march with her in the streets
the bloody Kotex in our hot, angry hands!
She says out of her mouth . . .
the same mouth she uses to eat with
That two-faced White Bitch says to my African face:
And she thought I should put my baby down.
So just imagine...how many ways she
she calls me racist....because I don't
put my baby . . . down, who came out of the Nile between
I don't ever watch my baby drown
Go get your newspapers . . . niggers!
Yes, you...niggers in Ghana, in Sudan, in America...in London
and don't let Mother Africa forget the niggerstock from Jamaica.
After all, you believe in
You believe one drop makes you "White"
Ain't that right, niggers?
You believe the Arab and the Muslim is your brother . . .who
don't you, niggers?
Nevermind what Mommysweet told your lost Black asses.
'Cause let us not forget . . . sometimes you feel like
a motherless child.
Cowardly MIXED up bastards!
Khaferi ahn Katiatak
My name is SUDAN. I am the goddess flower; I am the Nile. I love
all the men's Gods...my children.
Kola Boof. What kind of name is that? What kind of spell is
this charlatan woman trying to sell us? Why is it that her Black
only makes us think of...carnal things...why is it that her
flies from it . . . lies
Why is it that she is ugly to us. Why is it that her
story is one we have NEVER believed?
Why is it that any Muslim would want to kill her?
And how is it that a Muslim Arab newspaper devoted an entire
article to her . . . a woman . . . a woman written about and denounced
in a place where women are rarely ever mentioned?
What is it about Africa . . . that everything from it . . . is a fraud?
curse? Or unbelievable? Or dare Jesus Christ say it . . . "nappy"?
does this uppity Fire Witch think she is?
Who told her she could come here and kick her shoes off?
I am SUDAN. I am a wife. tima . . . selah, selah.
Once...I had a God who loved me. His black serpent entered all
inside the fleshy corridors of my palace.
This was how I created the earth's first garden.
In our unreality...we took delight; we were high on the Sun.
And when the eyes of my Rapists fell upon me...they thought that
above true love.
I am Sudan. I am the mother of my father.
I am born under the Goddess
the one who is Victorious; the one
of Trees (March). Men are trees. I am baptized by Buk. I am
who is praying.
I am the maker of the holy coffee (tima usrah)
I am Kola Boof. I am not a fraud.
Not even death can Silence me.
I came to stay.
* * *
Sudan's acclaimed women's writer KOLA BOOF has
written the poem "Kola Boof Fraud" as a response to
the White established media's continuing portrayal of her
as.."a conniving Black prostitute (and liar) seeking
publicity to sell her books" (New York Times, Dec. 11th
Ms. Boof also laments the unforgivable betrayal of her activism
by the Sudanese People's Liberation Army, who, because they're
opposed to her unconventional womanist image, have identified
themselves as her enemies in that article. Kola Boof no longer
supports the SPLA..but shall always be a devoted activist for
the South Sudanese--who have dubbed her "Queen Kola",
because they...the poor and oppressed...are the ones who know
her heart and its sincerity. Her vision of her career..has
always been inclusive of their struggle.
Kola Boof was just named the #1 bestselling author for the
entire year of 2002 by The African American Literary Book
Club.Com (for online sales). She is a revolutionary and a
womanist. Here is her new poem.."KOLA BOOF FRAUD".
Parable of the Cellphone (Marvin X)
* * *
* * *
Alek: My Life from Sudanese Refugee to
cleaned toilets, I only saw it as work to
give me the means to achieve my goals. Of
course I hated it," the Sudanese supermodel
exclaimed. "Waking up at 4 a.m. when it's
freezing cold is not easy, followed by Uni,
coursework and my evening baby-sitting job,
but it made me disciplined and gave me a
huge sense of self-appreciation."
the seventh of nine children Alek, meaning
'black-spotted cow' (one of Sudan's most
treasured cows, which represents good luck),
never dreamt of becoming a model. Both in
her motherland, where she was considered to
be inferior due to her Dinka tribe (dubbed
as 'zurqa', meaning dirty black) and again
in Britain when she arrived in 1991, she
Sister Citizen: Shame, Stereotypes, and Black Women in
By Melissa V.
According to the
author, this society has historically exerted
considerable pressure on black females to fit into one
of a handful of stereotypes, primarily, the Mammy, the
Matriarch or the Jezebel. The selfless
Mammy’s behavior is marked by a slavish devotion to
white folks’ domestic concerns, often at the expense of
those of her own family’s needs. By contrast, the
relatively-hedonistic Jezebel is a sexually-insatiable
temptress. And the Matriarch is generally thought of as
an emasculating figure who denigrates black men, ala the
characters Sapphire and Aunt Esther on the television
shows Amos and Andy and Sanford and Son, respectively.
points out how the propagation of these harmful myths
have served the mainstream culture well. For instance,
the Mammy suggests that it is almost second nature for
black females to feel a maternal instinct towards
As for the source
of the Jezebel, black women had no control over their
own bodies during slavery given that they were being
auctioned off and bred to maximize profits. Nonetheless,
it was in the interest of plantation owners to propagate
the lie that sisters were sluts inclined to mate
* * *
The Last Holiday: A Memoir
By Gil Scott Heron
Shortly after we republished The Vulture and The Nigger Factory, Gil started to tell me about The Last Holiday, an account he was writing of a multi-city tour that he ended up doing with Stevie Wonder in late 1980 and early 1981. Originally Bob Marley was meant to be playing the tour that Stevie Wonder had conceived as a way of trying to force legislation to make Martin Luther King's birthday a national holiday. At the time, Marley was dying of cancer, so Gil was asked to do the first six dates. He ended up doing all 41. And Dr King's birthday ended up becoming a national holiday ("The Last Holiday because America can't afford to have another national holiday"), but Gil always felt that Stevie never got the recognition he deserved and that his story needed to be told. The first chapters of this book were given to me in New York when Gil was living in the Chelsea Hotel.
* * *
Corporate Criminals, Political Corruption, and the Hijacking of America
Charles H. Ferguson
If you’re smart and a hard worker, but your parents aren’t rich, you’re now better off being born in Munich, Germany or in Singapore than in Cleveland, Ohio or New York. This radical shift did not happen by accident. Ferguson shows how, since the Reagan administration in the 1980s, both major political parties have become captives of the moneyed elite. It was the Clinton administration that dismantled the regulatory controls that protected the average citizen from avaricious financiers. It was the Bush team that destroyed the federal revenue base with its grotesquely skewed tax cuts for the rich. And it is the Obama White House that has allowed financial criminals to continue to operate unchecked, even after supposed “reforms” installed after the collapse of 2008.
Predator Nation reveals how once-revered figures like Alan Greenspan and Larry Summers became mere courtiers to the elite.
Based on many newly released court filings, it details the
extent of the crimes—there is no other word—committed in the
frenzied chase for wealth that caused the financial crisis.
And, finally, it lays out a plan of action for how we might take back our country and the American dream.—Read Chapter 1
* * * * *
Salvage the Bones
A Novel by Jesmyn Ward
On one level,
Salvage the Bones is a simple story about a poor black family that’s about to be trashed by one of the most deadly hurricanes in U.S. history. What makes the novel so powerful, though, is the way Ward winds private passions with that menace gathering force out in the Gulf of Mexico. Without a hint of pretension, in the simple lives of these poor people living among chickens and abandoned cars, she evokes the tenacious love and desperation of classical tragedy. The force that pushes back against Katrina’s inexorable winds is the voice of Ward’s narrator, a 14-year-old girl named Esch, the only daughter among four siblings. Precocious, passionate and sensitive, she speaks almost entirely in phrases soaked in her family’s raw land. Everything here is gritty, loamy and alive, as though the very soil were animated. Her brother’s “blood smells like wet hot earth after summer rain. . . . His scalp looks like fresh turned dirt.” Her father’s hands “are like gravel,” while her own hand “slides through his grip like a wet fish,” and a handsome boy’s “muscles jabbered like chickens.” Admittedly, Ward can push so hard on this simile-obsessed style that her paragraphs risk sounding like a compost heap, but this isn’t usually just metaphor for metaphor’s sake.
She conveys something fundamental about Esch’s fluid state of mind: her figurative sense of the world in which all things correspond and connect.
She and her brothers live in a ramshackle house steeped in grief since their mother died giving birth to her last child. . . . What remains, what’s salvaged, is something indomitable in these tough siblings, the strength of their love, the permanence of their devotion.—
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The White Masters of the
The World and Africa, 1965
By W. E. B. Du Bois
W. E. B. Du Bois’
Arraignment and Indictment of White Civilization
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Ancient African Nations
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update 7 July 2012