Books by Marcus Bruce
Christian
Song of the Black Valiants: Marching Tempo
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High Ground: A Collection of Poems /
Negro soldiers in the Battle of New Orleans
I am New
Orleans: A Poem
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Negro Iron Workers of Louisiana: 1718-1900 /
The Liberty Monument
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To One
Who Is Silent
By Marcus
B. Christian
Silent
today as the Sphinx of old
Eve
of the laughing eyes --
Eve
with your eyes of weathered gold,
Why
do you look so wise?
Wrinkle
your nose and tell us, please
Of
the thoughts that pass your way
While
your tongue is heavy today.
Let
the stammering, halting words outpour
Like
the gush of a summer's rain,
Then
-- because I like you that way -- once more
Grow quiet and calm
again. |
Source: I Am New Orleans & Other Poems By Marcus B.
Christian edited by Rudolph Lewis & Amin Sharif
Previous
Next
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Selected Letters
Selected Diary Notes Memories of Marcus B. Christian
(Cains) Christian's
BioBibliographical Record Introduction to I AM NEW
ORLEANS
A
Theory of a Black Aesthetic Magpies,
Goddesses, & Black Male Identity
Activist Works on Next Level of Change
Intro to I Am New
Orleans
Letter from Dillard University
A
Labor of Genuine Love
Letter of Gift of
Photos
Letters from
LSU and Skip Gates * * *
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Negro Iron Workers of Louisiana: 1718-1900
By Marcus Bruce
Christian
Study of the blacksmith
tradition and New Orleans famous lace
balconies and fences.
Acclaimed during his life as the unofficial
poet laureate of the New Orleans
African-American community, Marcus Christian
recorded a distinguished career as
historian, journalist, and literary scholar.
He was a contributor to Pelican's
Gumbo Ya Ya, and also wrote many
articles that appeared in numerous
newspapers, journals, and general-interest
publications. |
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Audio:
My Story, My Song (Featuring blues guitarist Walter Wolfman Washington)
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Sister Citizen: Shame, Stereotypes, and Black Women in
America
By Melissa V.
Harris-Perry
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.
Professor Perry
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
Caucasian babies.
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
indiscriminately.
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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.— WashingtonPost
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The White Masters of the
World
From
The World and Africa, 1965
By W. E. B. Du Bois
W. E. B. Du Bois’
Arraignment and Indictment of White Civilization
(Fletcher)
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Ancient African Nations
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The Death of Emmett Till by Bob Dylan
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The Lonesome Death of Hattie Carroll
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Only a Pawn in Their Game
Rev. Jesse Lee Peterson Thanks America for
Slavery /
George Jackson /
Hurricane Carter
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The Journal of Negro History issues at Project Gutenberg
The
Haitian Declaration of Independence 1804
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January 1, 1804 -- The Founding of
Haiti
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update 31 January 2012
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