Why No Confederate Statues in Mexico
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ParIshmael Reed (Auteur)
Livre numérique
0 Avis(s), critique(s) et commentaire(s)
The Civil War divides the United States. Millions, including the president, wish to maintain monuments to generals like Robert E. Lee. Referred to as “Knights” in Gone with the Wind,” some generals earned their bona fides by murdering blacks, Mexicans, and Native Americans During the Battle of Chapultepec in 1847, Robert E. Lee fought children, Los niños heroes. Refusing to surrender, they were slaughtered.
Ishmael Reed’s reach is vast and varied. His take down of the billion-dollar show Hamilton and its designer Lin-Manuel Miranda is priceless, as are his searing critiques of the ‘Black Bogeyman’ scam and the one-at-a-time tokenism of an elite who chooses winners and losers among minority artists.
Reed “says what’s on his mind,” be it about Quentin Tarantino and Django, white nationalism or Donald Trump. At the same time his portraits of Amiri Baraka/LeRoy Jones and actor Oliver Clark are touching and many-layered.
About Why No Confederate Statues in Mexico
"Ishmael Reed is the purest literary troublemaker we currently have’ – The Buffalo News
About Ishmael Reed and his Work
That’s what I loved about Baldwin, something that I am inspired by about Baldwin, Amiri Baraka, Ishmael Reed, Gwendolyn Brooks—they were all darlings of the liberal establishment, and they rejected that status, which meant they were pushed to the margins.” Cornell West
“Even nearer to [Colson] Whitehead’s derailment of antebellum history is Ishmael Reed’s Flight to Canada (1976).” Julian Lucas, New York Review of Books
“It was a ceremonial rite of some magnitude when the great American writer, cultural theorist, and musician Ishmael Reed played a jazz composition on the piano.”—Vogue, 17 Feb. 2019, coverage of Grace Wales Bonner’s London fashion show.
Table des matières
| Why No Confederate Statues in Mexico | 1 |
|---|---|
| Contents | 9 |
| Introduction. To Exterminate or Extirpate | 11 |
| Why No Confederate Statues in Mexico | 30 |
| Part I. Land of Fluid Identities | 35 |
| 1. The Berryessas and Peraltas, Descendants of the California Resistance | 37 |
| 2. The Wrong Side of History. Who’s Next? Are Gays the New Blacks? | 41 |
| 3. How I Became a Black Bogeyman and Survived to Tell the Tale | 45 |
| Part 2. Culture | 85 |
| 4. Black Audiences, White Starsand Django Unchained | 87 |
| 5. Is Boardwalk Empire Trampling the Legacy of Marcus Garvey? | 93 |
| 6. Hamilton, An American Musical: Black Actors Dress Up like Slave Traders … and It’s Not Halloween | 99 |
| 7. Hamilton: The Revolution. Brilliant Show. Bad History | 107 |
| 8. Before the President There Was Mr. Tibbs | 117 |
| 9. Personal Problems –Interview by Violet Lucca,March 30, 2018 | 121 |
| 10. Buried Alive | 131 |
| 11. Mother Hubbard Goes to China | 139 |
| 12. LeRoi Jones/Amiri Baraka and Me | 151 |
| 13. Jazz Musicians as Pioneer Multi-Culturalists, the Co-Optation of Their Creations and the Reason Jazz Survives | 169 |
| 14. Sex, Africa and Chinua Achebe | 183 |
| 15My Oldest White Friend, Oliver Clark:From U.B. to Broadway and Hollywood | 187 |
| Part 3. Politics | 195 |
| 16, Who Owns Black Opinion? | 197 |
| 17. Fallacies of the Post-Race Presidency | 207 |
| 18. Trump’s Anti-Black Animusand How the Media Armed His Hate | 229 |
| 19. Using Immigrants to Shame American Blacks | 233 |
| 20. Confessions of a Neighborhood Watch Captain | 237 |
| 21. White Nationalism’s Last Stand | 241 |
| 22. Trump’s Irish-Americans “Without Hearts” | 247 |
| 23. Do American Jews Still Believe They’re White? | 253 |
| 24 Why We’re Shockedby White Heroin Use | 263 |
| 25. Amid Mount Rushmore Warriors, Why Not a lover: Warren G. Harding? | 267 |
| Part 4. Culture | 271 |
| 26. A Fly On Nicholas Kristof’s Wall | 273 |
| 27. Fly On The Wall – Bad Apples Bar | 277 |
| 28. Fly On The Wall –Governor Huckabee Meets Beyoncé | 281 |
| Notes | 285 |
| Introduction. To Exterminate or Extirpate | 285 |
| 2. The Wrong Side of History. Who’s Next? | 286 |
| 6. Hamilton, An American Musical: Black Actors Dress Up likeSlave Traders … and It’s Not Halloween | 286 |
| 13. Jazz Musicians as Pioneer Multi-Culturalists, the Co-Optation of Their Creations and the Reason Jazz Survives | 286 |
| 16. Who Owns Black Opinion? | 287 |
| 17. Fallacies of the Post-Race Presidency | 288 |
| 21. White Nationalism’s Last Stand | 290 |
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Biographies des auteurs
À propos de Ishmael Reed
Ishmael Reed is an essayist, novelist, poet and playwright, and a prizewinner in all categories. He taught at the University of California (Berkeley) for thirty-five years, as well as at Harvard, Yale and Dartmouth. Reed is a member of Harvard’s Signet Society and Yale’s Calhoun Society. He lives in Oakland, California.
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Détails du livre
- Éditeur
- Baraka Books
- Catégories
- Histoire générale et mondiale, Histoire sociale et culturelle, Histoire de l'art, Arts
- Parution
- Octobre 2019
- Pages
- 292
- Chapitres
- 44
- Langue
- Anglais
- ISBN EPUB
- 9781771862028
- ISBN Papier
- 9781771861854




