Sprague Library Exhibits

A critical examination of the films of Oscar Micheaux. One of the most original and successful filmmakers of all time, Oscar Micheaux was born into a rural, working-class, African-American family in mid-America in 1884, yet he created an impressive legacy in commercial cinema. Between 1913 and 1951 he wrote, directed, and distributed some forty-three feature films, more than any other black filmmaker in the world, a record of production that is likely to stand for a very long time. Micheaux's work was founded upon the concern for class mobility, or uplift, for African Americans. Uplift provided the context for Micheaux's extensive commentary on racist cinema, such as D. W. Griffith's 1915 blockbuster, The Birth of a Nation, which Micheaux "answered" with his very early films Within Our Gates and Symbol of the Unconquered. Uplift explains Micheaux's use of "negative images" of African Americans as well as his multi-pronged campaign against stereotype and caricature in American culture. His campaign produced a body of films saturated with a nuanced intertexual "signifying," boldly and repeatedly treating controversial topics that face white censorship time after time, topics ranging from white mob and Klan violence to light-skin-color fetish to white financing of black cultural productions.

With a ""crooked stick,"" filmmaker Oscar Micheaux (1884-1951) sought to hit a ""straight lick"" by stressing the strategic importance of class mobility, or ""uplift,"" for African Americans. A theme in all of his more than 40 feature-length, black-produced, black-directed, blackcast, and black-audience films, uplift would allow for the better things in life: fast cars and fancy clothes, freedom of belief, financial security, and an unencumbered intellectual life. Although racism was an impediment to uplift for Micheaux and other African Americans, race as a category was of a secondary order for him in the larger game of class. In With a Crooked Stick, J. Ronald Green pursues this seeming contradiction in a detailed analysis of each of Micheaux's 15 surviving films. He presents critical commentary on each film's plot and action and its contribution to the overall theme of uplift. Readers will also find this an invaluable guide to the preoccupations and features of Micheaux's remarkable career and the insight it provides into the African American experience of the 1920s and 30s.

Oscar Micheaux was the Jackie Robinson of film, the black D. W. Griffith: a bigger-than-life American folk hero whose important life story is nearly forgotten today. Now, in a feat of historical investigation and vivid storytelling, one of our greatest film biographers takes on one of the most talented and complex figures in the history of American entertainment. The son of freed slaves, Micheaux grew up in Metropolis, Illinois, then roamed America as a Pullman porter before making his first mark as a homesteader in South Dakota. Disaster and defeat there led him to forge a career publishing a successful series of autobiographical novels. Ever the entrepreneur, when Hollywood failed to bid high enough for film rights to his stories, he answered by forming his own film production company. Going on to produce or direct twenty-two silent and fifteen sound films in his lifetime, Micheaux became the king of the "race cinema" industry at a time when black-produced films had to scrounge for venues in a segregated society. In this groundbreaking new biography, award-winning film historian Patrick McGilligan offers a vivid and fascinating portrait of this little-known pioneer. Part visionary, part raffish Barnum-like showman, Micheaux was both a maverick filmmaker and an inveterate hustler who used every weapon at his disposal to break the color barrier and thrive in a profession he helped to invent. He made a fortune and lost it again, and launched repeated con games that were followed by public arrests and bankruptcies. He eagerly took credit for the work of others--including his unsung-heroine wife. In his desperate later years, he even sunk to plagiarizing his final novel--a discovery McGilligan reveals here for the first time. In this searching exploration, McGilligan tracks down long-lost financial records, unpublished letters, and unmarked pauper's graves, pinpointing Micheaux's birthplace, his tangled personal life, and the circumstances of his tragic death. The result is an epic that bridges a fascinating period in American history, and offers lessons for anyone who would understand the role of black America in forming the culture of our time.

Winner of the 2001 Kraszna-Krausz Moving Image Book Awards | Winner of the Theatre Library Association Award Writing Himself Into History is an eagerly anticipated analysis of the career and artistry surrounding the legendary Black filmmaker Oscar Micheaux. With the exception of Spike Lee, Micheaux is the most famous--and prolific--African American film director. Between 1918 and 1948 he made more than 40 "race pictures," movies made for and about African Americans. A man of immense creativity, he also wrote seven novels. Pearl Bowser and Louise Spence concentrate here on the first decade of Micheaux's career, when Micheaux produced and directed more than twenty silent features and built a reputation as a controversial and maverick entrepreneur. Placing his work firmly within his social and cultural milieu, they also examine Micheaeux's family and life. The authors provide a close textual analysis of his surviving films (including The Symbol of the Unconquered, Within Our Gates, and Body and Soul), and highlight the rivalry between studios, dilemmas of assimilation versus separatism, gender issues, and class. In Search of Oscar Micheaux also analyzes Micheaux's career as a novelist in relation to his work as a filmmaker. This is a much-awaited book that is especially timely as interest in Micheaux's work increases.

Autobiography of a People is an insightfully assembled anthology of eyewitness accounts that traces the history of the African American experience.nbsp; From the Middle Passage to the Million Man March, editor Herb Boyd has culled a diverse range of voices, both famous and ordinary, to creat a unique and compelling historical portrait: Benjamin Banneker on Thomas Jefferson Old Elizabeth on spreading the Word Frederick Douglass on life in the North W.E.B. Du Bois on the Talented Tenth Matthew Henson on reaching the North Pole Harriot Jacobs on running away James Cameron on escaping a mob lyniching Alvin Ailey on the world of dance Langston Hughes on the Harlem Renaissance Curtis Morriw on the Korean War Max ROach on "jazz" as a four-letter word LL Cool J on rap Mary Church Terrell on the Chicago World's Fair Rev. Bernice King on the future of Black America And many others.

Oscar Micheaux--the most prolific African American filmmaker to date and a filmmaking giant of the silent period--has finally found his rightful place in film history. Both artist and showman, Micheaux stirred controversy in his time as he confronted issues such as lynching, miscegenation, peonage and white supremacy, passing, and corruption among black clergymen. In this important collection, prominent scholars examine Micheaux's surviving silent films, his fellow producers of race films who alternately challenged or emulated his methods, and the cultural activities that surrounded and sustained these achievements. The relationship between black film and both the stage (particularly the Lafayette Players) and the black press, issues of underdevelopment, and a genealogy of Micheaux scholarship, as well as extensive and more accurate filmographies, give a richly textured portrait of this era. The essays will fascinate the general public as well as scholars in the fields of film studies, cultural studies, and African American history. This thoroughly readable collection is a superb reference work lavishly illustrated with rare photographs.

The moving story of the life of the woman behind A Raisin in the Sun, the most widely anthologized, read, and performed play of the American stage, by the New York Times bestselling author of Mockingbird: A Portrait of Harper Lee Written when she was just twenty-eight, Lorraine Hansberry's landmark A Raisin in the Sun is listed by the National Theatre as one of the hundred most significant works of the twentieth century. Hansberry was the first Black woman to have a play performed on Broadway, and the first Black and youngest American playwright to win a New York Critics' Circle Award. Charles J. Shields's authoritative biography of one of the twentieth century's most admired playwrights examines the parts of Lorraine Hansberry's life that have escaped public knowledge: the influence of her upper-class background, her fight for peace and nuclear disarmament, the reason why she embraced Communism during the Cold War, and her dependence on her white husband--her best friend, critic, and promoter. Many of the identity issues about class, sexuality, and race that she struggled with are relevant and urgent today. This dramatic telling of a passionate life--a very American life through self-reinvention--uses previously unpublished interviews with close friends in politics and theater, privately held correspondence, and deep research to reconcile old mysteries and raise new questions about a life not fully described until now.

Lorraine Hansberry, who died at thirty-four, was by all accounts a force of nature. Although best-known for her work A Raisin in the Sun, her short life was full of extraordinary experiences and achievements, and she had an unflinching commitment to social justice, which brought her under FBI surveillance when she was barely in her twenties. While her close friends and contemporaries, like James Baldwin and Nina Simone, have been rightly celebrated, her story has been diminished and relegated to one work-until now. In 2018, Hansberry will get the recognition she deserves with the PBS American Masters documentary "Lorraine Hansberry- Sighted Eyes/Feeling Heart" and Imani Perry's multi-dimensional, illuminating biography, Looking for Lorraine. After the success of A Raisin in the Sun, Hansberry used her prominence in myriad ways- challenging President Kennedy and his brother to take bolder stances on Civil Rights, supporting African anti-colonial leaders, and confronting the romantic racism of the Beat poets and Village hipsters. Though she married a man, she identified as lesbian and, risking censure and the prospect of being outed, joined one of the nation's first lesbian organizations. Hansberry associated with many activists, writers, and musicians, including Malcolm X, Langston Hughes, Duke Ellington, Paul Robeson, W.E.B. Du Bois, among others. Looking for Lorraine is a powerful insight into Hansberry's extraordinary life-a life that was tragically cut far too short.

A special kind of autobiography-in a very special voice. Both the story and the voice belong to a young black woman who was born in Chicago, came to New York, won fame with her first play, A Raisin In The Sun-and went on to new heights of artistry before her tragically early death.In turns angry, loving, bitter, laughing, and defiantly proud, the story, voice, and message are all Lorraine Hansberry's own. They come together in one of the major works of the black psyche and the black experience in mid-century America.

The findings from wide-ranging interviews and careful historical research, Black Genius explores the roots of black achievement in America. The results are surprising and inspiring. Interweaving past and present, beginning with this country's inception, Russell covers the importance of continuity and tradition in nurturing black artists, scientists, and leaders.Here are memorable portraits of Wynton Marsalis, Ralph Ellison, Louis Armstrong, Toni Morrison, Duke Ellington, James Baldwin, Paul Robeson, Muhammad Ali, Lois Mailou-Jones, and other black notables. Through their eyes, we see how they were inspired, fostered, and encouraged by their mentors, how the creative tradition was passed from one generation to the next. This great theme of interconnectedness is played out, for example, in Wynton Marsalis's links to not only Ellington and Armstrong, but also, through the venerable author Albert Murray, to Ellison and the artist Romare Bearden. In addition to these well-known figures, Russell also rediscovers less familiar ones: writers, activists, scientists, and artists whose reputations may be underrecognized, whose courage and ach

Here are Lorraine Hansberry's last three plays--Les Blancs, The Drinking Gourd, and What Use Are Flowers?--representing the capstone of her achievement. Includes a new preface by Jewell Gresham Nemiroff and a revised introduction by Margaret B. Wilkerson.

Winner of the Josephine Miles-PEN Oakland Book Award Winner of the MAAH Stone Book Award A Rolling Stone Best Music Book of the Year A Pitchfork Best Music Book of the Year "Brooks traces all kinds of lines, finding unexpected points of connection inviting voices to talk to one another, seeing what different perspectives can offer, opening up new ways of looking and listening by tracing lineages and calling for more space." -New York Times An award-winning Black feminist music critic takes us on an epic journey through radical sound from Bessie Smith to Beyoncé. Daphne A. Brooks explores more than a century of music archives to examine the critics, collectors, and listeners who have determined perceptions of Black women on stage and in the recording studio. How is it possible, she asks, that iconic artists such as Aretha Franklin and Beyoncé exist simultaneously at the center and on the fringe of the culture industry? Liner Notes for the Revolution offers a startling new perspective on these acclaimed figures-a perspective informed by the overlooked contributions of other Black women concerned with the work of their musical peers. Zora Neale Hurston appears as a sound archivist and a performer, Lorraine Hansberry as a queer Black feminist critic of modern culture, and Pauline Hopkins as America's first Black female cultural commentator. Brooks tackles the complicated racial politics of blues music recording, song collecting, and rock and roll criticism. She makes lyrical forays into the blues pioneers Bessie Smith and Mamie Smith, as well as fans who became critics, like the record-label entrepreneur and writer Rosetta Reitz. In the twenty-first century, pop superstar Janelle Monae's liner notes are recognized for their innovations, while celebrated singers Cécile McLorin Salvant, Rhiannon Giddens, and Valerie June take their place as cultural historians. With an innovative perspective on the story of Black women in popular music-and who should rightly tell it-Liner Notes for the Revolution pioneers a long overdue recognition and celebration of Black women musicians as radical intellectuals.

A unique and comprehensive collection of 26 literary essays that explore the rich cultural history of black women in America.   Black women's writing has finally emerged as one of the most dynamic fields of American literature. Here, leading literary critics--both male and female, black and white--look at fiction, nonfiction, poetry, slave narratives, and autobiographies in a totally new way. In essence, they reconstruct a literary history that documents black women as artists, intellectuals, symbol makers, teachers, and survivors. Important writers whose work and lives are explored include Toni Morrison, Gloria Gaynor, Maya Angelou, and Alice Walker, and the fascinating list of essays range from Nellie Y. McKay's "The Souls of Black Women Folk in the Writings of W. E. B. Du Bois" to Jewelle L Gomez's very personal tribute to Lorraine Hansberry as a dramatist and crusader for social justice. Henry Louis Gates Jr., the editor of this anthology and a noted authority on African-American literature, has provided a thought-provoking introduction that celebrates the experience of "reading black, reading feminist." A penetrating look at women's writing from a unique perspective, this superb collection brings to light the rich heritage of literary creativity among African-American women.   "Why is the fugitive slave, the fiery orator, the political activist, the abolitionist always represented as a black man? How does the heroic voice and heroic image of the black woman get suppressed in a culture that depended on her heroism for survival?"--Mary Helen Washington, from her essay in Reading Black, Reading Feminist

The most comprehensive anthology of primary sources available, spanning the entire history of the American civil rights movement. A record of one of the greatest and most turbulent movements of this century, The Eyes on the Prize Civil Rights Readeris essential for anyone interested in learning how far the American civil rights movements has come and how far it has to go. Included are the Supreme Court's Brown vs Board of Educationdecision in its entirety; speeches by Martin Luther King, Jr., and his famous "Letter from Birmingham City Jail"; an interview with Rosa Parks; selections from Malcolm X Speaks; Black Panther Bobby Seale's Seize the Time; Ralph Abernathy's controversial And the Walls Came Tumbling Down; a piece by Herman Badillo on the infamous Attica prison uprising; addresses by Harold Washington, Jesse Jackson, Nelson Mandel, and much more. "An important volume for students and professionals who wish to grasp the basic nature of the civil rights movement and how it changed America in fundamental ways." -Aldon Morris, Northwestern University

The eruption of mass protests in the wake of the police murders of Michael Brown in Ferguson, Missouri and Eric Garner in New York City have challenged the impunity with which officers of the law carry out violence against Black people and punctured the illusion of a postracial America. The Black Lives Matter movement has awakened a new generation of activists. In this stirring and insightful analysis, activist and scholar Keeanga-Yamahtta Taylor surveys the historical and contemporary ravages of racism and persistence of structural inequality such as mass incarceration and Black unemployment. In this context, she argues that this new struggle against police violence holds the potential to reignite a broader push for Black liberation.

The Movement for Black Lives (M4BL) has gained worldwide visibility as a grassroots social justice movement distinguished by a decentralized, non-hierarchal mode of organization, and in 2020 Black Lives Matter protests across the country shook America's moral conscience to its core. M4BL rose to prominence in part thanks to its protests against police brutality and misconduct directed at Black Americans. However, its animating concerns are far broader, calling for a wide range of economic, political, legal, and cultural measures to address what it terms a "war against Black people," as well as the "shared struggle with all oppressed people." Yet despite the significance of the social, political, and economic goals of M4BL, as well as the innovative organizational leadership strategies it employs, M4BL has so far received little sustained philosophical attention. The Movement for Black Lives: Philosophical Perspectives brings philosophical analysis to bear on the aims, strategies, policy positions, and intellectual-historical context of M4BL. Leading scholars tackle such themes as: "Black Lives Matter" as a political speech act, M4BL's conception of the value of Black lives, the gender dynamics of the Movement, the relation of M4BL to other Black liberation movements and transitional justice movements, the Movement's new forms of leadership and organization, and the impact of racism on the normative assessment of the criminal justice system. The volume broaches a wide range of pressing issues in the philosophy of language, social and political philosophy, philosophy of race, philosophy of gender, and the philosophy of punishment. It is vital reading for students and scholars in the humanities and social sciences interested in race, inequality, and social justice movements.

When George M. Fredrickson published White Supremacy: A Comparative Study in American and South African History, he met universal acclaim. David Brion Davis, writing in The New York Times Book Review, called it "one of the most brilliant and successful studies in comparative history ever written." The book was honored with the Ralph Waldo Emerson Prize, the Merle Curti Award, and a jury nomination for the Pulitzer Prize. Now comes the sequel to that acclaimed work. In Black Liberation, George Fredrickson offers a fascinating account of how blacks in the United States and South Africa came to grips with the challenge of white supremacy. He reveals a rich history--not merely of parallel develpments, but of an intricate, transatlantic web of influences and cross-fertilization. He begins with early moments of hope in both countries--Reconstruction in the United States, and the liberal colonialism of British Cape Colony--when the promise of suffrage led educated black elites to fight for color-blind equality. A rising tide of racism and discrimination at the turn of the century, however, blunted their hopes and encouraged nationalist movements in both countries. Fredrickson teases out the connections between movements and nations, examining the transatlantic appeal of black religious nationalism (known as Ethiopianism), and the pan-Africanism of Du Bois and Garvey. He brings to vivid life the decades of struggle, organizing, and debate, as blacks in the United States looked to Africa for identity and South Africans looked to America for new ideas and hope. The book traces the rise of Communist influence in black movements in the two nations in the 1920s and '30s, and the adoption of Gandhian nonviolent protest after World War II. The story of India's struggle, however, was not to be repeated in either America or South Africa: in one nation, nonviolence revealed its limitations, encouraging splits in the civil rights movement; in the other, it failed, fostering an armed struggle against white supremacy. Fredrickson brings the story up through the present, exploring the divergence between African-American identity politics and the nonracialism that has triumphed in South Africa. In a career spanning thirty years, George Fredrickson has won recognition as the leading scholar of the struggle over racial domination in the United States and South Africa. In Black Liberation, he provides the essential companion volume to his award-winning White Supremacy, telling the story of how blacks fought back on both sides of the Atlantic.

Uncovers the often overlooked stories of the women who shaped the black freedom struggle The story of the black freedom struggle in America has been overwhelmingly male-centric, starring leaders like Martin Luther King, Jr., Malcolm X, and Huey Newton. With few exceptions, black women have been perceived as supporting actresses; as behind-the-scenes or peripheral activists, or rank and file party members. But what about Vicki Garvin, a Brooklyn-born activist who became a leader of the National Negro Labor Council and guide to Malcolm X on his travels through Africa? What about Shirley Chisholm, the first black Congresswoman? From Rosa Parks and Esther Cooper Jackson, to Shirley Graham DuBois and Assata Shakur, a host of women demonstrated a lifelong commitment to radical change, embracing multiple roles to sustain the movement, founding numerous groups and mentoring younger activists. Helping to create the groundwork and continuity for the movement by operating as local organizers, international mobilizers, and charismatic leaders, the stories of the women profiled in Want to Start a Revolution? help shatter the pervasive and imbalanced image of women on the sidelines of the black freedom struggle. Contributors: Margo Natalie Crawford, Prudence Cumberbatch, Johanna Fernández, Diane C. Fujino, Dayo F. Gore, Joshua Guild, Gerald Horne, Ericka Huggins, Angela D. LeBlanc-Ernest, Joy James, Erik McDuffie, Premilla Nadasen, Sherie M. Randolph, James Smethurst, Margaret Stevens, and Jeanne Theoharis.

Maya Angelou's five-volume autobiography transcends the autobiographical tradition, enriching it with contemporary experience, African American vision, and female sensibility. With these five books, Angelou has created a work of epic scope that covers a quarter century of American and African American history, from the beginning of World War II to the civil rights movement. These volumes stretch over time and place, from Arkansas to Africa, as Angelou grows from a confused child in a Southern town to an accomplished adult. Throughout her life journey depicted in the autobiographies, Angelou grapples with the issues of motherhood and race and reveals the struggles of being a black mother in America, extending her perspective in the fourth and fifth volumes to encompass an African setting. A biographical chapter is enriched by an exclusive interview granted by Angelou, and a chapter on genre discusses Angelou's work in the context of the tradition of American and African American autobiography. A chapter is devoted to each of the five volumes of her serial autobiography--I Know Why the Caged Bird Sings(1970), Gather Together in My Name (1974), Singin' and Swingin' and Gettin' Merry Like Christmas(1976), The Heart of a Woman (1981), and All God's Children Need Traveling Shoes(1986). The discussion of each novel features sections on narrative point of view, plot development, character development, thematic issues, style and literary devices, and an alternate critical approach from which to read the work. A complete bibliography of Angelou's work, plus a list of reviews of each work and selected secondary critical and biographical sources, complete the work. This companion is ideal for students, teachers, and others interested in Maya Angelou, the African American experience, and the craft of autobiography.

This collection of fifteen new essays explores the impact of the organized Left and Leftist theory on American literature and culture from the 1920s to the present. In particular, the contributors explore the participation of writers and intellectuals on the Left in the development of African American, Chicano/Chicana, and Asian American literature and culture. By placing the Left at the center of their examination, the authors reposition the interpretive framework of American cultural studies. Tracing the development of the Left over the course of the last century, the essays connect the Old Left of the pre-World War II era to the New Left and Third World nationalist Left of the 1960s and 1970s, as well as to the multicultural Left that has emerged since the 1970s. Individual essays explore the Left in relation to the work of such key figures as Ralph Ellison, T. S. Eliot, Chester Himes, Harry Belafonte, Americo Paredes, and Alice Childress. The collection also reconsiders the role of the Left in such critical cultural and historical moments as the Harlem Renaissance, the Cold War, and the Black Arts Movement of the 1960s and 1970s. The contributors are Anthony Dawahare, Barbara Foley, Marcial Gonzalez, Fred Ho, William J. Maxwell, Bill V. Mullen, Cary Nelson, B. V. Olguin, Rachel Rubin, Eric Schocket, James Smethurst, Michelle Stephens, Alan Wald, and Mary Helen Washington.

James Weldon Johnson (1871-1938) would have been judged a successful man had he merely remained the principal of Stanton School in his hometown of Jacksonville, FL. Destiny led him, however, to become the first African-American to pass the Florida Bar exam, to win international acclaim as a songwriter, poet, novelist, diplomat, playwright, journalist, and champion of human rights. Since that time, though, his life and contributions have gone virtually unnoticed, except for his well-known song, "Lift Every Voice and Sing." Johnson's dual role as civil rights leader and literary artist was unprecedented and has not been replicated since. He used this duality in attempt to exonerate black Americans from the psychological and physical persecutions of "Jim Crow." These two volumes comprise of Johnson's literary work, song lyrics, and both his literary and political essays. A critical introduction places Johnson in relation to other black artists, the development of African-American literature, and early integrationist movements. By painting a vivid picture of the race problem in this nation, and by his portrayal of the successes and possibilities of his race, he pricked white America's conscience. This collection serves as witness to Johnson's pioneering a momentous standard for African-American literature while he laid the groundwork for the early civil rights movement in America.

The epic history of African American women's pursuit of political power -- and how it transformed America. In the standard story, the suffrage crusade began in Seneca Falls in 1848 and ended with the ratification of the Nineteenth Amendment in 1920. But this overwhelmingly white women's movement did not win the vote for most black women. Securing their rights required a movement of their own. In Vanguard, acclaimed historian Martha S. Jones offers a new history of African American women's political lives in America. She recounts how they defied both racism and sexism to fight for the ballot, and how they wielded political power to secure the equality and dignity of all persons. From the earliest days of the republic to the passage of the 1965 Voting Rights Act and beyond, Jones excavates the lives and work of black women--Maria Stewart, Frances Ellen Watkins Harper, Fannie Lou Hamer, and more--who were the vanguard of women's rights, calling on America to realize its best ideals.