Podcasts about Chester Himes

February 16, 2025After visiting a quirky bookstore, I came away with a story about coincidences and three new books including Cotton Comes to Harlem by Chester Himes.

The role of the adaptation of Chester Himes's Cotton Comes to Harlem in the history of Black Cinema Written by Nicole DixonRead by Kassandra Timm

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Meet the extraordinary author behind the Black detective novel genre, Chester Himes! Himes lived a very colorful life that informed his work and his perspectives. He worked actively to combat racism and lived courageously, never afraid to start over or change course. His legacy transcends genres, continents, and time. 

Welcome, dear listener, to February. We are starting things of with a film neither of us had encountered before, A Rage in Harlem (1991). Loosely based on the Chester Himes novel of the same name and directed by Bill Duke, it's a love story of sorts, a heist movie, a buddy comedy, and other stuff too! Thoroughly enjoyable throughout. Eduard Bonilla-Silva on CSPAN2 BookTV  +++++ Intro by Professor Ping available on Bandcamp Outro: Plastic Little performing Miller Time --- Support this podcast: https://podcasters.spotify.com/pod/show/zandkmoviepod/support

MATT PHILLIPS chats to Paul Burke about his new noir - A GOOD RUSH OF BLOOD, noir and social documentarian, character drives narrative, indie writing.A GOOD RUSH OF BLOOD: A mother's sins haunt a teenage runaway in this scorching mystery of criminal conspiracy, street-level justice, and unlikely courage.Creeley Nash has been running her entire life. That includes running drugs for a wannabe kingpin. On a drug run to Palm Springs--the town where Creeley escaped her no-good mother as a teen--she'll encounter a sun-drenched facade beneath which lurks a web of dark secrets. A Good Rush of Blood follows Creeley as she unravels the mystery of her estranged mother's murder conviction.Peopled with bent cops, grizzled reporters, hardened drug dealers, eccentric sidekicks, and sexy librarians, this sweaty, fast-paced neo-noir finds stellar noir scribe Matt Phillips (Countdown, Know Me from Smoke) at the apex of his dirty, lethal game.Matt Phillips lives in San Diego. His novels include Countdown, Know Me from Smoke, You Must Have a Death Wish, Redbone and Three Kinds of Fool. His short fiction has been featured in Shotgun Honey, Mystery Tribune, Retreats from Oblivion, and elsewhere.RecommendationsFrank Zafiro - A Grifter's Song seriesPatricia Highsmith, Donald Goines, David Goodis, Chester Himes, Dorothy B Hughes, Jim Thompson, Pablo D'stair, Stephen King & Elmore LeonardVern Smith - Scratching the Flint Paul Burke writes for Crime Time, Crime Fiction Lover and the European Literature Network. He is also a CWA Historical Dagger Judge 2023.Music courtesy of  Guy Hale author of The Comeback Trail trilogy, featuring Jimmy Wayne - KILLING ME SOFTLY - MIKE ZITO featuring Kid Anderson - Vacant StareGUY HALE Produced by Junkyard DogCrime TimeCrime Time FM is the official podcast ofGwyl Crime Cymru Festival 2023CrimeFest 2023CWA Daggers 2023& Newcastle Noir (December)

JAKE LAMAR chats to Paul Burke about his jazz noir novel VIPER'S DREAM, Paris, Chester Himes, radio plays, Harlem and jazz. VIPER'S DREAM for fans of Colson Whitehead and Chester Himes, Viper's Dream is a gritty, daring look at the vibrant jazz scene of mid-century Harlem, and one man's dreams of making it big and finding love in a world that wants to keep him down.1936. Clyde 'The Viper' Morton boards a train from Alabama to Harlem to chase his dreams of being a jazz musician. When his talent fails him, he becomes caught up in the dangerous underbelly of Harlem's drug trade. In this heartbreaking novel, one man must decide what he is willing to give up and what he wants to fight for.'Viper's Dream is one Long High, sweeping us through Harlem from the 1930s to the 1960s on riffs of melancholy poetry cut through with the hardboiled beats of gangsters and their streets, leaving us hooked on a pure, true Jazz Noir Classic' - David PeaceJAKE LAMAR was born in 1961 and grew up in the Bronx, New York. After graduating from Harvard University, he spent six years writing for Time magazine. He has lived in Paris since 1993 and teaches creative writing at one of France's top universities, Sciences Po. He is the author of a memoir, seven novels, numerous essays, reviews and short stories, and a play. His most recent work, Viper's Dream, is both a crime novel and an audio drama, set in the jazz world of Harlem between 1936 and 1961. He is a recipient of the Lyndhurst Prize (for his first book, Bourgeois Blues), a prestigious Centre National du Livre grant (for his novel Postérité), France's Grand Prize for best foreign thriller (for his novel The Last Integrationist), and a Beaumarchais fellowship for his play Brothers in Exile. He is currently working on a memoir about his life in Paris.Recommendatons David Peace Tokyo Year ZeroDonald Westlake The AxeDeborah Levy Things I Don't Want to KnowKarim Miské Arab JazzProduced by Junkyard DogMusic courtesy of Southgate and LeighCrime TimePaul Burke writes for Crime Time, Crime Fiction Lover and the European Literature Network. He is also a CWA Historical Dagger Judge 2022 .Photo credit Ulf Anderson This interview was recorded live in a Paris cafe there is background noise. We hope this doesn't spoil your listening pleasure. Produced by Junkyard DogMusic courtesy of Southgate and LeighCrime TimeCrime Time FM is the official podcast ofGwyl Crime Cymru Festival 2023CrimeFest 2023&CWA Daggers 2023

The Great American Novel podcast is an ongoing discussion about the novels we hold up as significant achievements in our American literary culture.  Additionally, we sometimes suggest novels who should break into the sometimes problematical canon and at other times we'll suggest books which can be dropped from such lofty consideration.  Your hosts are Kirk Curnutt and Scott Yarbrough, professors with little time and less sense who nonetheless enjoy a good book banter.  For this 16th episode we went a different route and discuss a smorgasbord of fine American Noir, novels about detectives and criminals and femme fatales and button men, gunsels and grifters, sharps and snakes.  We discuss works by Dashiell Hammett, James M. Cain, Raymond Chandler, Dorothy B. Hughes, Vera Caspary, Patricia Highsmith, Chester Himes, Jim Thompson,  and Horace McCoy.  Film audio clips are from Double Indemnity (Billy Wilder, 1944) and The Big Sleep (Howard Hawkes, 1946).  All show music is by Lobo Loco.  The intro song is “Old Ralley”; the intermission is “The First Moment,” and the outro is “Inspector Invisible.”  For more information visit: https://locolobomusic.com/.We may be contacted at greatamericannovelpodcast (@) gmail.com.  As always, the views of the hosts do not necessarily reflect the views of their home institutions.  

We're joined by the fantastic Coy Hall to discuss his writing, historical magic, medicinal cannibalism, and whether or not all characters need an animal sidekick. We also get a peek at his book Grimoire of the Four Imposters and talk about his latest novel The Hangman Feeds the Jackal. Coy Hall lives in West Virginia with his wife, Olivia, and they share a home with a clumsy Great Pyrenees named Duncan. Coy splits time as an author of mysteries and horror and as a professor of history. The two pursuits fit together well. As a historian, he teaches courses about medieval and early modern Europe. History has influenced his writing, with many of his stories set in the distant past--sometimes the real past, sometimes an imagined one, but most often a mix of the two. His short stories have appeared in a variety of magazines and anthologies like The Fiends in the Furrows (2018). He's published in a wide range of genres, including western, science-fiction, adventure, crime, fantasy, horror, and mystery. His first collection, Grimoire of the Four Impostors, releases in 2021 from Nosetouch Press. His first novel, The Hangman Feeds the Jackal: A Gothic Western, was released in June 2022 from Nosetouch Press. Other influences include authors Philip K. Dick, Raymond Chandler, Fritz Leiber, M.R. James, Chester Himes, David Goodis, and Shirley Jackson. Radio drama series like Inner Sanctum Mysteries and CBS Radio Mystery Theater, and films such as Nosferatu (1922) and The Black Cat (1934), have also shaped his storytelling. You can find him on his website and on Twitter. Want to submit your writing or be a guest editor? Email darkwaterspodcast@gmail.com Intro/Outro music: www.bensound.com Disclaimer: Any and all opinions expressed are the opinions of the participants and not of the organizations or institutions with which they are affiliated. --- Support this podcast: https://anchor.fm/darkwaters/support

durée : 00:25:59 - Les Nuits de France Culture - par : Philippe Garbit - En 1978, dans le 4ème volet d'une série d'"A voix nue" l'écrivain Jorge-Luis Borges s'entretient avec Jean Daive à propos de certaines de ses nouvelles. Avec un regard lucide sur ses textes de jeunesse, l'auteur argentin évoque la littérature comme "une forme d'étonnement". - invités : Jorge Luis Borges

In which my buddy, Sonny Chiba, joins me in reviewing COTTON COMES TO HARLEM (1970), which is available on Epix, Prime, Paramount+ and Pluto TV. The film, written by Ossie Davis and Arnold Perl, from the novel by Chester Himes, is directed by Ossie Davis and was his directorial debut. The story follows two cops in Harlem, Grave Digger Jones (Godfrey Cambridge) and Coffin Ed Johnson (Raymond St. Jacques) as they try to find out exactly who came and committed a robbery in broad daylight during a fundraising event hosted by Rev. Deke O'Malley (Calvin Lockhart). The film mixes clever dialogue and humor that still lands, decent action sequences and social commentary to weave a unique story of these 2 Harlem cops who are racing against time to solve the crime and make sure those in the community that have been taken advantage of are afforded justice. The film has a run time of 1 h 37 m, and is rated R. Please note there are SPOILERS in this review. Shout out to Sonny for doing the podcast and please check him out at the following places: https://www.instagram.com/chibaindyartist/ https://app.fanbase.app/chibaindyartist https://www.indyplanet.com/bullets-blunts-and-bullshh-vol-1 https://twitter.com/chiba37 Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library. --- Support this podcast: https://anchor.fm/jokagoge/support

In conversation with Solomon Jones. Lawrence Jackson's award-winning books include The Indignant Generation: A Narrative History of African American Writers and Critics, biographies of Chester Himes and Ralph Ellison, and a memoir about his family history, titled My Father's Name: A Black Virginia Family after the Civil War. A Bloomberg Distinguished Professor of English and history at Johns Hopkins University, he is also the founder of the Billie Holiday Center for Liberation Arts and a recipient of a 2019 Guggenheim Fellowship. Shelter is an essay collection that begins with Jackson's initial struggle to make Baltimore his home and how his later adoption of the Charm City became a means to reexamine his personal history. An award-winning Philadelphia Daily News columnist and morning host for 900 am WURD radio in Philadelphia, Solomon Jones is the author of the Essence bestselling novel The Bridge, as well as the critically acclaimed books Pipe Dream, Ride or Die, Payback, and Ten Lives, Ten Demands: Life and Death Stories, and a Black Activist's Blueprint for Racial Justice. He is also a blogger and frequent on-air commentator for NPR-affiliate WHYY and is the founder of Words on the Street Literacy Program and the Rally for Justice Coalition. (recorded 5/4/2022)

Critically acclaimed author Gary Phillips joins David Avallone to read from, and talk about, Chester Himes' classic COTTON COMES TO HARLEM, and all things pulp. --Please leave us a rating on Apple Podcasts/iTunes!-- Website: pendantaudio.com Twitter: @pendantweb Facebook: facebook.com/pendantaudio Tumblr: pendantaudio.tumblr.com YouTube: youtube.com/pendantproductions

The first feature from Wendell B. Harris Jr. (Chameleon Street) won the grand jury prize at Sundance in 1990. He has yet to be given the opportunity to make a follow-up. In this epic interview Harris shares the lessons gleaned from a life inside and outside of Hollywood, from his meetings with legends like Orson Welles and Chester Himes, to the project he has been working on since “Chameleon Street”, a documentary called “Yeshua vs. Frankenstein In 3D/G-Speak”. How is the world wrong about Wendell B. Harris, Jr.? From Andras Jones: I knew when I watched “Chameleon Street” that its writer, director and star was an important artist but after talking with him for over 7 hours (cut down to the three and half hours for this episode) it's clear to me that Wendell B. Harris Jr is as vital as ever, and sitting on several scripts and projects that remain ahead of their time today. Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod Follow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXag The World Is Wrong theme written, produced and performed by Andras Jones Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.

Please note this episode deals with sexuality and sexual violence and may not be suitable for all listeners. Some material may be triggering. If you do find yourself triggered or having difficulty, please contact your local rape crisis center. If you need assistance locating support, please use RAINN.org in the US and Ending Violence in Canada to locate supportive services.Kerry: We're talking about Tamari’s book, Appealing Because He is Appalling. And it's all about the idea of Black masculinity, colonialism, and erotic racism. And this is a topic that is so near and dear to my heart. Because it's very much about how we perceive ourselves sexually, and how these ties really affect how we are showing up in these colonial spaces. How has the systematic racism, colonialism, you know, all the isms affected us, and in particular, a very forgotten piece of this space, which is the Black man. Black men have been railroaded into one real vice where, where there, I've always looked at it like we we see them, you know, in this sinister space as one product, or we see them as an infallible space and another end of that product. Like it's almost nonexistent. There's no space in between. And Tamari, I really want us to get a moment to, to unpack all of it, because there is a lot here and so much stuff that I had no idea about. And I'm sure we'll we'll get to talking. I'm sure we will. Let's get dive in.Tamari:Yes.  No, thank you so much. I really appreciate the opportunity to be with you. And Patti again. Is this our second conversation? I think it's our second?Patty: Yeah, at least second, maybe third.  We’re old friends now.Tamari:Yeah. We often do not speak about Black men and disabilities, you know, to talk about police violence, without talking about the disabling of Black men, either psychologically or physically. We're just missing a huge part of that conversation. But not just the the disabilities that arises from being incarcerated or interaction with the police. But the brilliant thing about the paper that Leroy and I wrote, and I wrote is that we take this back to slavery. And slavery was the production of disabilities. And if you look at the nature of resistance and rebellions, from slavery onward, very often you're talking about individuals that were disabled.So if you go to Haiti, you found that Boukman and others who were the founding figures of the Haitian Revolution, those people were all physically disabled, they had either limbs that were dismembered, or some other such thing. Harriet Tubman, right, she took a piece of metal to the head and had convulsions, all her life. So disabilities is a major part of Black resistance and rebellion.And if you know, I mean, I think we can get get to this, again, is to talk about Emmett Till, and disabilities. That is a really important piece of disabilities history that not a lot of people know. And Leroy introduced me to it. And I did a bit of research on that. And it's just absolutely amazing that this young boy had a speech impediment. So he had like a speaking disability and his mother in Chicago taught him in order to form his words, he should whistle. So that led to, uh, I forget the name of the guy that led the charge. I think his last name was Bryant in thinking that this little boy was whistling at his wife and his wife knew that that was not the case. And upon her deathbed admitted that it was all concocted. So disabilities is a major part of resistance. But it's also produced by anti-Blackness and the particular targeting of Black men.So about me. So I'm a professor of sociology at Brock University. been there since 2006. And my areas of specialization and interest are Blackness and anti-Blackness in Western and Asiatic cultures. I do not separate the west from the east because it's all Asia people talk about the European continent. All the continents begin with “A” except for North and South America which are joined by an isthmus.Patty: Yeah, I saw Roxanne Dunbar Ortiz, I was listening to a panel she was on and she referred to the Asian peninsula of Europe.Tamari:That's what it is. There's no Eurasia, it's Asia..Kerry: I just love that. That is a drop of knowledge. Now, you know,Keep going, Tamari, with, with, with this interest of yours being, you know, Blackness, anti-Blackness and understanding, I really want to hold space. First off, for the topic matter that we're going to be discussing tonight. I really recognize I mean, we've we've gathered before, and I really recognize, you know, how our Black men especially, are not necessarily honored, nor do we lend voice for what their experience dealing with a colonial system can be. And I really would love for us.  One we're honoring you. I'm I also want to just acknowledge the the bravery or the the fact that you're speaking out and giving us some context, because I think that it's unusual in some of the ways that we've we've been told about Black men, you know, and and what there are, and I really want you to give us some of that. What, when we talk about this book, what was your thought process and putting it together and compiling it? What is it about?Tamari:You know, so my main thought processes was that I went through my undergraduate years, taking courses in feminism, and women's history. And my my second published essay was a critique of first wave feminism in Canada. Talking about, looking at the first wave feminists in Canada, they were really anti-immigrant. They're really hated Chinese people. They were eugenicists. They hated mixed race unions and couples, and they particularly hated Black men and white women. And they were all about this Nordic Anglo keeping Canada white. And if anybody's going to get the vote, it should be them, it should be them because they're the models of civilization.So I went through studying this stuff. And then I kept thinking about my experiences growing up in Toronto. And as a young adult, going to nightclubs and something just didn't sit right with me. Because, you know, I had experiences where I have to wonder what explained it.Like if, you know, I gave one instance in the introduction, where walk into a club, downtown Toronto, was about 22 years old. And, you know, young white woman, looking my age walks directly in front of me, like, and I you know, I couldn't get up, get away from her because she's like, walking right in front of me, right? So I just walk into the club, like, what's going on here, right? She just walks right in front of me, looks me in the eyes, and clutches my testicles, and my penis, and squints and then gives me that look, and then lightly squeezes and then walks off and what what the f**k just happened? Like, this doesn't make any sense, right? So of course, my night was ruined.But as an undergraduate student, I'm thinking, Okay, this doesn't fit with the narrative that men are the ones that dominate women, men are the ones that objectify women, it just didn't fit in my experience. And the more brothers that I spoke to, the more I kept hearing the same thing. But there was nothing in the literature that would help me to explain what this was.And so I actually intended to write my dissertation on this very topic. And so I approached a white feminist scholar who does at when I was a student at OISE, whose specialization is gender, sexuality. So I thought, Okay, this is this is someone that I could work with, who can help me process like, what theory can explain my experience and experiences of other Black men? So I sat down with this person who I hoped would have been my supervisor. And I explained my my interest in this topic. And this white woman just looked at me and busted out laughing and said, Now you know how we feel. Like oh, s**t, okay.So there's no way that I can write a dissertation that would deconstruct this phenomenon, because I will be basically assailing feminist theory. Right so it that idea never left me. And so when I just went I was  theorising you know how to go about doing this book, I thought, You know what, I'm not going to do a sole authored book, I put out a call for papers, I reached out to people around the world. And this was starting in about 2013, 2014. And so the book has been, this particular book in this formation has been in progress that long, because I knew from my readings that these dynamics were taking place elsewhere around the world and across time, and that in some situations, it had like really national significance and importance.Like in Japan, which was a country basically occupied by the United States, from like, 1853, when Admiral Perry went into Tokyo Bay with his Black ship, right, this Black ship, and his bodyguard were like these African American guys that were six foot five, ebony Black, super muscular. And the Japanese were like, you know, five foot three. And so they're looking up with these giants. Who were the body guards for Admiral Perry, and it's like, oh, s**t, if this little white guy is commanding these big negros, then we better listen to him.So Blackness became this weaponization, to help the Japanese to understand that you should submit now or else we're going to set these guys after you. Right? So Black masculinity in Japan has this interesting history of being the symbolic front edge of US domination and conquest in the country that got really ramped up and amplified with the, with the with the dropping of the bombs on Hiroshima, and Nagasaki, and then the occupation of Japan thereafter.So I really thought that I needed not to write a sole authored book, but to bring in other people from different regions of the world, so that we can understand what the dynamics are, how they look differently, how they look similar. And just to have a better understanding of what this issue is that we're dealing with, where we just like lack the capacity to see Black men as fully human beings.Patty: The one thing that I was really into that really intrigued me was the discussions about queerness, and about anti queer beliefs and attitudes throughout the Caribbean, because I see a lot of parallels with how that takes place. How that has taken place in Indigenous communities as well. So can you because I think you contributed to one of those essays as well.Tamari:So those were two two separate essays. One is by Kumar McIntosh. And he was addressing the issue of anti queer representations in newspaper cartoons in Jamaica. And he did a really nice deconstruction of how that anti queer representation fits in with respectability politics and this kind of light skinned politics. And this the colonial narrative that gay men or gayness is somehow antithetical to what it means to be Jamaican. Right. So he does a really nice paper in deconstructing how class bias is part of the colonial logic and mentality that leads to that sort of representation.And what I really like about his paper is that he does not go down that rabbit hole of mass constructing all homophobia and all anti queer politics in Jamaica, somehow inherent to the culture and pervasive to the people. Because, I can tell you that in my experience, when I like so for example, there's a JA Rogers right, the one of the most famous Jamaican historians ever who was like one of the leading figures in the Harlem Renaissance. He's got like a bunch of books, race of class, recent race, not race and class. I forgot the other part of the title is a three volume set. It'll come to me in a minute because actually cite him. In one of his books, I think volume two or three, he talks about homosexuality in Jamaica, and he's writing about this in 1943. And what he ended up saying is that when the British ships, the British warships come to dock in the harbor, the pharmacies sell out of unguents. And like I read this a long time ago, and then I reread it incredibly impressive. For the book, and I didn't know what the hell an unguent was, it’s gel basically. Right?So Jay Rogers is writing about this in 1943. Right, that it was same sex relationships was just a fundamental part of the culture as it is everywhere else. But there's, something happened. Post 1945 Post 1980, post IMF Post World Bank really eviscerating the economic life of Jamaica. Right. And so we have lost the capacity to look at gender and sexuality politics, outside of economics. But when you factor in economics, when you factor in the history of buck breaking in Jamaica and elsewhere in the Caribbean, that homophobia takes on a particular valence and a narrative, that it has different meanings and practices on the ground.When you look at Dancehall culture, transgender gay men, they are a big part of Dancehall culture. So how does it come to be that in Dancehall culture, you have an acceptance of homosexuality, but in formal politics and its articulation, you have a different narrative. And I don't think that the Western narrative of framing Jamaica as a homophobic space is in fact, accurate and a really useful analysis in articulation of what gender and sexuality politics looks like in Jamaica. So I think Kumar's chapter does a wonderful job of deconstructing that homophobia and that queer/anti queer politics, without castigating the totality of Jamaican culture.The other paper by Zizwe Poe, um not Zizwe Poe. Sorry. That's their, that's the father.I keep getting the father and son mixed up (Watufani M. Poe). So his paper looks at queer politics in Cuba, and in Brazil, just about the time of 1888. And shortly after, when slavery was abolished in the Spanish Dominions was 1888, rather than 1865 in the US, and 1833, in the British dominions, so think about that. 1888. That's just like, so someone alive in Brazil now has a grandmother, or grandfather, who was directly enslaved.So he writes this wonderful analysis of literature and some of the first novels that were based on same sex relationships between African and European males. But he also does another wonderful piece of work of looking at the Inquisition. And a lot of what was involved in the Inquisition was these records about aberrant sexual behavior. So, he does an amazing chapter deconstructing all of this. And I think his core point is that this idea that same sex male relationships is somehow anathema to Blackness, really does not understand Black history and African history. And this is like a raging debate where some people are saying, Africa didn't have homosexuality. And other people are saying, well, when you look at the archaeological evidence, the narratives from the first the Spanish, the Jesuits and others, it's very clear that they were same sex relationships and that there were transgendered males who were core parts of their communities.So when you look at the historical evidence, and you look at the narratives from the enslaved Africans in the Americas, it makes it very clear that homosexuality was a fundamental norm, a regular part of relationships. But at the same time, his work demonstrates that African males were definitely sexually assaulted by slave masters and other white males. And this is one of those aspects of slavery that is only not, I'm sorry, that is only now beginning to get it's just do in terms of research.Kerry: For me as we're we're unpacking this, there's, there's this sense of like heaviness that I feel because I recognize, you know, I have Black sons. My father is a Black man, and you know, this doing them this justice of holding the space. And speaking about this, you know, I when I was reading through the book Tamari what really touched me it was a triggering moment because you mentioned it in the foreword, you know, it's in the forward where you talk about this sense or this, the the the statistics about Black men and sexual assault, and we have so not put those two pieces together. And I really want us to dive into that. Tell us what the truth of that matter is? How are how is that showing up? As well in the way Black men are, are, are showing up just how are they in conjunction to this reality against these numbers? I don't even want to go there. I'm gonna let you do it.Tamari:So the thanks for asking that question. So I'll just give like a little bit of these statistics from Canada. In the city of Toronto, right. Black men are 4% of the population. But of all complaints of sexual assault against the police, to the Special Investigations Unit, they represent 25% of all complaints. Right?I will, I will, I was asked to be on a supervisory committee for a student. That was her thesis was looking at strip searching in the prisons. And I thought, yeah, great, I have no problem being on this committee, I could be very useful. And at a certain point, I had to say to the supervisor and the student that look, I have to withdraw from this committee, because I just can't process this notion that's being constructed, this narrative, that somehow strip searching of women in prisons is somehow much more egregious, harmful and devastating to them than it is to males. I showed the student that 80% of all strip searching that occurs across the province of Ontario, with the bulk of it being done in Toronto, 80% of all persons strip searched by the cops are males. But when you look at the report from this, this this agency in Toronto, they don't actually say any percent of males are strip searched, they say 20 to 25% of females are strip searched. So you have to do the math. Right. So even at that level, those people that are compiling the data, simply refuse to see that 75 to 80% of all persons strip searched are males, and therefore they're not obligated to do any further research and inquiry in terms of what the impacts are. Right.Now, when you when you, the data out of the United States, right, is that and we don't we don't have this data in Canada, the data out of the United States is that there are as many men raped in prison, as there are women in free society that are raped. Prisons are a rape factory. It is probably no less the case in Canada. Prison is also rape factory for women. We tend not to think and when you read Angela Davis's work, for example, in her book on prison abolition, right? She talks about sexual violence in the prison, but make no mention that males are predominantly the victims of rape in prisons. But she also doesn't talk about women as being raped by other women in prison. So whether you're talking about males or females, prisons, are rape factories, no matter which way you cut it, right.And I think one of the the points that I tried to make in my introduction, and in that preface is that to some extent, we really need to take a step back from sharply linking these essential categories of male and female with privilege and victimization, vis a vis, sexual violence, right, it really disables our capacity to see that there's a way in which sexual violence works, that disables our capacity to understand that the rates of intimate partner violence and sexual assault is higher among same sex relationships, meaning, lesbian, gay and trans.So where then do we go, if we can have a rational conversation about power, because we're too busy fixating on what the genitalia of the people are to presume that they either are, should be punished more frequently? Because they're males, or that they're more victims because they're females and require special treatment? Right. So this is not to disavow the violence to women, but it's to say that we need to shift the dial like something is happening And we're losing the capacity to have meaningful conversations that help us to understand what sexual violence looks like, and how it functions in the lives of males.Because we're only, researchers are only now beginning to gather the data, and it's principally in the United States. And what they're saying is that we have missed this significantly, in terms of the impact on young boys that are sexually assaulted, and males that are sexually assaulted both by males and females.Kerry: I really enjoy this line of conversation, because what comes up for me when I hear these stories is how, how much, you know, you know, men, and Black men in particular, are just simply, you know, not even in the picture, you know, this sense of once again, the erasure around how we have allowed Black men to show up. And then let's think about the how that picture that erasure is affecting the ways that our Black men are interrelating, are being, you know, judged in society in a particular way. Because normally, we don't see Black men as being, you know, the victims of the assault. And yet, there's this, you know, huge picture of them being the person who offers the assault. And I really want us to break that down, because that goes into some things. And Patty, I know you had something to offer to that.Patty: Well, because I mean, early on in the book, you make the point about, you know, there is no universal manhood, masculinity and, you know, universal men versus universal women. You know, and I've heard that in, you know, from a number of Indigenous feminists as well, you know, rejecting this universal womanhood. You know, so this idea of the, when we talk about like this universal womanhood and this universal manhood, we're not able to talk about these other things. And you know, you also make the point you know about we know that men get sexually assaulted we joke about them in prison, don't pick up the soap you say, right, how often to cops threaten person that they're interrogating, or whatever with “Yeah, you're gonna go to jail, and you're gonna get raped? And how are you going to like that?” And it's like, Dude, I stole Skittles, like, why are you doing this? You know, like Mariame Kaba uses that language too, “How do you be a, you know, call yourself an advocate against sexual violence and then send people to rape factories,” right? How do you? How do you do that? How so we know that men are sexually victimized and Black and Indigenous and making up the bulk of the prison population in Canada. And yet, we still call the cops on them. How is that not sexual violence,Tamari:it's hard not to understand it that way when you frame it that way. And that's because you're rethinking the narrative. And you know, as Patty, as you were relaying that, that perspective, I was thinking about Omar Khadr. Like this was a 16 year old boy in Guantanamo Bay, and the CIA interrogators in order to get this child soldier, a child, who should never had been incarcerated, to get him to confess, they said to him, we're going to put you into a US prison with four big Black men and you know what they're going to do to you.So even at that level, the idea that rape is an instrument of control in prisons is one thing. But to use this as a means of threatening a child, to say that a Black man, this is how we’re going to punish you, if you don't confess. That just shows the extent to which of phenomena called sociogenic.This myth of the Black man as a rapist is so pervasive in the culture that we need to begin to clearly name what I'm calling the Black phallic fantastic, which is the idea that Black men are hypersexual, they've never seen a and typically it's, you know, heterosexual. So they've never seen a woman that they would not want to sleep with. And especially if it's a white woman, oh my god, right? They're hyper sexual. They always want sex. Second, they're priapic they have large penises. Oh, everybody knows that. It's just like this thing. That's a part of the culture. I've had Black women complain to me that their white female work friends ask them if it's true. And how would they know? Because they have Black sons. So white women are asking Black women if it's true, a white woman who might be have a spouse who was a Black man or any other woman, other women what women would ask them, Is it true? RightSo we demean, and we discipline men for having locker room talk. But we know that white women and other women do this. Right? So that's the priapic myth. And the other is that well, we're prone to rape. If, if the accusation is made, it's reverse onus that dude has to prove that he didn't do it. This is just how pervasive these these three aspects of what I'm calling the Black phallic fantastic are and it's mobilized in different ways throughout the culture at different levels.And right now, I'm just about to launch my, my research project for a book, that my next book, calling it sex tropes in trauma, the intimate lives of Black men, and I want to understand how do these tropes affect you? Right, because I've been talking to enough Black men to be disturbed by what by what I'm told, that's for some of them, their quote, unquote, first experience is being 5, 7, 8, 12, 16, years old, right, and being introduced to sex, very often by older girls, and grown women. But the older these guys get, the more they frame it as an experience. So they don't even have a language, to name having their sexual sovereignty, their autonomy removed from them, while as youngsters.And what I'm what I want to get at is, like, how has this affected your life, if you have had any of these experiences, whether it's with the tropes, or with actually having your autonomy being taken from you, because we don't have a language for it. And I think that's one of my, that's my mission, really, with this next book, is to help to develop a language. And I think this will lead Black men to be able to live more full lives with higher quality, intimate relationships, if they can deconstruct these tropes and the trauma with their partners.Kerry: Oh, okay, Tamari, I have you just sent chills down my, to my very core, I am really, really resonating deeply with so many of the things that you said, one being that I work very closely with Black men, with couples. And it has been my experience as well, that that this this sense of the Black man, or, you know, having these very early sexual experiences, and somehow, as you said, it is created to, you know, we know that when we go through trauma, we, we have different levels of acceptance of what that traumatic event is, and, and depending on how you react, you may freeze, or you numb out and then I believe that it's reinforced by our societal norms that tell our men that, you know, they're allowed to have these sexual conquests. And yet, I too, have noticed at an alarming rate that I see are Black men are having these experiences as young as five, the median age that I have seen is around 12, 13. That seems to be a median age. And the how that has shown up is a lot of these same people end up in my chair afterwards.And I find that there's been this, there's been several disconnections in the way that the perceptions of sexuality, this idea of even being able to associate the trauma, I do a lot of work around just even opening that door to recognize that there might have been, you know, what, do you know at 12. You don't know these things at 12, curiosity maybe, but what do you know?  You know, it's speaking that language and giving them that language.I think it's such a powerful space, because so many of us and, and in particular, Black men don't. And I it's funny, I'm really interested and working on developing a course myself a system to offer some of the healing spaces that we need to around it. And it is novel, allowing even to connect into that emotional space that allows men to feel safe enough to even be able to acknowledge it is is some work that definitely is needed. And I am just commending you if this is you know that that's the next step for you. As you taking this further what.How is, when we talk about this. How is Black men? How are Black men sitting in it? Do you know what I mean? Like we know that we have the you know, you have the Black phallic fantastic. Can you dive in and explain that just a little bit more like break that down? Because I really want people to understand and hear this. Like, when you mentioned this theory, I went, Wow, this is it. This is it. Can you really break it down for us?TamariOkay, so thanks for the question. So, what I've done is I've taken the three major sexual stereotypes about Black men, because Fanon, Baldwin, who are the core theorists that are used in this book, all of their work deals with those three tropes or stereotypes. Others do it also, right, Chester Himes, Calvin Harrington, others do it. But there's something about the way in which James Baldwin was so persistent and so pervasive. And he was a cultural critic/psycho analyst who took these sexual stereotypes that are in the ether in the popular culture. And he brought it down to the level of daily practice. And he often used his own experience. And Fanon took it from the vantage point of the psychoanalyst’s couch. Right, who would psychoanalyze Western culture. And of course, the problem with Fanon is that he never applied his own theories to himself, whereas Baldwin did.So there's a whole space and a gap in Fanon’s articulation of these tropes, right? That not even those who focus on his work, have paid close enough attention to, to see that Black Skin/White Masks, for all else that it was, it was an autobiography. Fanon was making self, making sense of himself as a colonized man, who could not get out of the space of colonization. Right? So this, he was literally working a lot of this stuff out through his patience. And this is what came through in Black Skin, White Masks, but I don't think a lot of his experts, those people who specialized in his work have paid close enough attention to that.So what I did was I took these three tropes, the hypersexuality, right? Because you know, this presumption that well, Black men always love sex, and you say sex, you think Black man, you think big penis, you think Black men. You think rapist, you think Black men. And this is what was core to the work of Baldwin throughout much of his body of work, and also Fanon in Black Skin, White Masks. And what they were getting at was, how do we deconstruct this, so that Black men can be seen as human beings and live human lives, and that others will not depend on defining who they are by imposing those sorts of tropes on Black men so that they can see themselves as innocent.So what I did was, I said, Look, how far does this go back? And you got to go back to Greece and Rome. And people some people might say, oh, Tamari, you're taking it way too far. Well, okay. Well, you go to some of the Roman baths in North Africa. And you look on the, you look at the frescoes or reproduce some of those in the book, where did those come from? That was Romans reproducing those narratives of priapism as applied to Black men. But here's the twist. Priapism on the African significant signified barbarism. On a Roman is signified responsible use of power.Because for the Romans, the penis was an instrument. The phallus was an instrument of power. The bigger the better. On an African or barbarian it connoted savagery, and sexual irresponsibility. This was part of how Rome envisioned African men because it also served as a symbol of fertility. So kind of like the the lawn jockeys, you know, holding up the candle, right? You rub the head for good luck on your way out of your house. Okay, those symbols, those frescoes of African males that were priapic, those were meant to connote fertility, but it also meant to connote barbarism on the African. Those things function together.You go back a little further with Galen, the Greco Roman physician, he said that there's certain things that are unique to Africans, right. One of them is their large penises, and that they're hilarious. What what where would he get that idea from the Greeks and the Romans had a conception of moral geography where you were geographically that signified your moral qualities and characteristics, Mediterranean - Middle Earth. Those were the people that were rational, balanced, reasoned, they had equilibrium. People in the south or oversexed, people in the North, the Nordics, people, they said that they were frigid, and stupid. So all these Nordic people taking Greece and Rome as their inheritance. The Greeks and the Romans despise them. Right?So when you go now to like the, the, the 17th, and the 18th and 19th century in Europe, who were they reading? They were reading Plato, of course, but they were also reading Theadorus of Sicily. They're reading all these other Greco Roman, Greek and Roman philosophers, geographers, that located race, with geography with moral characteristics, and they always associated hypersexuality, rape propensity, and large penises with Africans.Kerry: And, and what that brings up, interestingly enough, where I went with that is into the Middle Eastern slave trade. It's not something that we very often discuss, but the fact that, you know, the, you know, the Middle East, or moving into that part of the world that they were having, you know, they were slaving enslaving Africans for about 500 years before the Middle Passage started, you know, and we also don't talk about that in that realm of the slave trade, that element of creating eunuchs. So so many of our Black men were actually castrated. And so I think that's very interesting to note that, you know, this idea of power when you when you bring up this the sense of the Greco, the Greco Roman era, considering penis size, being about power, I find it very interesting that the very first thing that would happen when they enslaved our people or Black men, that the first thing that went was the penis.Tamari:So that's an interesting observation and let me add a bit more to that. Right. When you look at the enslavement of African people, by Arabs, mostly and to a lesser extent, what we now call India. One of the interesting things is that is the demographics, the Trans Saharan and the Trans Indian Ocean enslavement of African people, two out of every three African taken was a female. The other 1/3 were males. And they were chiefly used in military service, but also in the bureaucracy as eunuchs. The Khalif of Baghdad in the 10th century, he had something like 10,000 or 11,000 eunuchs in his bureaucracy. 4000 were white males from Eastern Europe, the other 7000 were African males. There was a tendency to prefer eunuchs who were Africans because they will be castrated. And in the Turkish Empire in Turkey itself, like in Ottoman Turkey. The the the royal bureaucracy was literally like virtually all staffed by African males. And many Turks don't know the extent to which Africans were not only in the military, but predominated in the palace, right and among the upper classes, but we, the most Turks don't know this because they could not sexually reproduce. Ah, and so the castration centers were in Egypt, right, one of the main centers was in Egypt, in Alexandria, and in Spain.Kerry: Wow. See, once again, I had no idea. Thank you for that piece of information.Tamari:So they also had it was a it was, it was it was an art and a science. So clean shaved were those who had the both the penis and testicles cut off. And shaved were only those who had just just a testicles cut off. The mortality rate for those that were clean shaved was extraordinarily high. And in some cases, the surgical procedure amounted to no more than a stone crushing the genitals of 12, 13, 14, and 15 year old boys. Right, this was the level of barbarism and brutality, that was meted out to African males during the Saharan and the East Indian slave trade. So if those males were not used in the military, and they were, if they were used in the bureaucracy, they were very, very often castrated, the mortality rate depending on the type of the procedure was not high. And absolute disregard for the survival of the males was not a concern, because it was cheaper to replace them than to grow them.Patty: We often think about, you know, kind of the history of Blackness beginning with the transatlantic slave trade. But really, Africa and Europe aren't that far apart. You know, they're not that far apart. I'm like, you know, you talk about the, these tropes going back, you know, to Ancient Greece and Ancient Rome and further further back, because this is not a huge geography that we're talking about, and trade routes and relationships, and wherever, wherever Black slavery went, you know, or Afrocentric, slavery went, That's they weren't all eunuchs, as like, you say, were in the military. So they form communities that remain to this day, like in the case of, of the Siddih in India, and we forget that we get so kind of locked in our own little world, that, you know, we forget that there have been Black people in England for a very long time. You know, there have been Black people in France and Spain and, you know, kind of throughout, you know, those places for a very long time, and not always enslaved. Not, you know, you know, that's also kind of a very narrow picture that we have. And, and that's what carries forward in our current thinking about Blackness, as we only have this kind of very small, very skewed perspective of, you know, of what it is. So that's, I mean, that's something else that I really appreciated about your book is the large, global and historical context of it, that makes us see just how much bigger it is, which shows just really how absurd our current view is. And the current limitations of the way we think about Black men and Blackness in general. It's, it's ridiculous, it’s so tightly controlled this narrative, this, you know, white supremacy, white supremacist, colonial narrative, but it's ridiculous. It doesn't, it doesn't hold. The center does not hold.Kerry: right. I love that so much, Patty, because it's true. For me, when I was reading this book, at the same way, same thing for you, even as a Black person, like just the expansiveness of this body of work, like you really do touch from so many different spaces. And it really brought home, how we, as Black people, and in particular, are Black men whose voice doesn't get heard. They are not a monolith. They are, you know, have different experiences have had, um. Even though there are commonalities, which you know, I think you're drawing in, but the there are these differences in the way that we have had those experiences. However, we don't give the voice to our men to speak it. And as you said, that language hasn't even been developed. So, you know, Tamari, I just want to really commend you for you know, doing this, to me, it's groundbreaking work. I know, we I know, there have been others that have come before, you've quoted some of my you know, I call them my hallowed babas you know, Dr. Diap, and, and others that you've quoted. But I really recognize how with there's so much more to go. And I I'm, I'm we're at our hour, so that's kind of why I'm like, Man, I feel like we've only just like we just we just did like 10 pages in like that's, that's what it feels like. And there's so much more to cover. I really would love for us to come back even to break down like this, the sense of queerness and how that has shown up that there's just so much disabilities and how that has shown up in We got to have you back Tamari?Tamari:Well, I would, I would definitely say thank you. And I would, I would definitely bring my colleagues with me that contributed to the book, because they have to speak to the work from their own perspective, because the work than they did was just absolutely brilliant,Patty: Like for myself as an Indigenous woman, and thinking about the men in our communities, and, you know, kind of their experiences, because, you know, our men are also hyper sexualized, and, you know, on the cover of, you know, those bodice ripping romance novels and, you know, and kind of, you know, play that, you know, portrayed as the, you know, the savage, and, you know, always in a loincloth with a rippling chest, right, like, it's, I don't know, like, it's always in that way, we talk about the hyper sexualization of the men and the women in two very different ways, right, like the woman is always seen as the victim. And the man is always seen as the predator. And we don't see that by framing our men in this way. And we do it ourselves. You know, because we buy into that stuff, right? Like, we've heard it from the time we were little, you know, but, you know, that is in itself a form of sexual violence, because we're putting them in this box, that is not helpful, and is not I mean,I could just go in so many in so many ways about this, but we just had our sisters in spirit event yesterday. And the woman who and one of the women who organized it, who spoke at the beginning, she said, I know, it's called Sisters in Spirit, and we're here for our Missing and Murdered Indigenous Women and Girls. But we're also here for our two spirited people and for our men, and for all of those who are experiencing sexual violence and murder and going missing. This was not only for us, this is for all of us, because these things are pervasive in our communities, and whiteness, patriarchy, colonialism. That's the problem. That's the problem, not each other. And we are here together.So thank you so much for this book, I'm gonna be unpacking this for a while.Tamari:Patty, if you can, if you could encourage any First Nations, male to do an MA or PhD on exactly that issue that you mentioned, it is a, it's screaming to be done. The issue of the hyper sexualization of First Nation males, it's across the 19th century, into the 20th century, it is still pervasive, it's with us. But again, we don't have a language for it, because that work is really, I think I've read just a little bit of it. There's something out there. But I don't think to the extent that people have caught on to really do that research.Patty: Well, I think we're very comfortable with the idea of women as victims, we're very comfortable with that. And we're willing to throw lots of money at it and special days and everything, the idea of our men being victims, we're not that comfortable with thatKerry: I and I, you just hit the nail on the head. And I think what is so powerful about this is when we talk about the ways that we are dissecting colonialism, we are offering up medicines, I think this is an imperative part, until we allow a space for, you know, our men to be able to shine, to be able to stand up to be able to voice and bring power to their voice in their vulnerability. Because what I think we've excluded from men is that sense of their vulnerability and the ability to be safe, to be heard. So as we develop the language as we create these truths, we as we have these conversations, this is one of the ways that we tear apart this system as it stands because it joins us. It allows us to feel it allows us to create healing. And I'm so, so grateful to know you Tamari. This is great work you're doing. I really appreciate youTamari:my sisters. I want to thank you both, Patty and Kerry, this is wonderful. Thank you. I look forward to being back.Patty:We'll see you again. Bye bye.Kerry: We're doing this again. Thank you both. Bye. Good night. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit medicinefortheresistance.substack.com

View "Cosmic Slop" on YouTube: https://www.youtube.com/watch?app=desktop&v=F-yMNu7Zi00 “Cosmic Slop” from 1994 is a short-lived and difficult to find Twilight Zone style anthology series from HBO and the Hudlin brothers. Space Traders: Directed by Reginald Hudlin. Written by Trey Ellis (based upon a short story by Derrick Bell). Starring: Robert Guillaume, Jason Bernard, Michele Lamar Richards, Brock Peters, Casey Kasem, Jay Koch & George Clinton The First Commandment: Written & Directed by Warrington Hudlin. Starring Nicholas Turturro, Noelle Balfour, Richard Herd, Kelly Jo Minter & George Clinton Tang: Directed by Kevin Rodney Sullivan. Written by Kyle Baker based upon a story by Chester Himes. Starring Chi McBride, Paula Jai Parker & George Clinton How is the world wrong about Cosmic Slop From Bryan Connolly: No one remembers this show! Sure it was only 3 episodes, but man is it good. No exaggeration, Space Traders is one of the best episodes of any show ever. It never makes any Best of HBO lists. Let's change that. This is smart television at its finest.  Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod Follow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXag The World Is Wrong theme written, produced and performed by Andras Jones Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.

durée : 01:57:27 - Fictions / Théâtre et Cie - Paris, 28 novembre 1960. Une enquête est ouverte sur les causes du décès de Richard Wright, célèbre auteur afro-américain. Ses deux frères d'exil, James Baldwin et Chester Himes vont fouiller dans les souvenirs de leur trio, entre amitié intense et rivalité féroce.

durée : 01:57:27 - Fictions / Théâtre et Cie - Paris, 28 novembre 1960. Une enquête est ouverte sur les causes du décès de Richard Wright, célèbre auteur afro-américain. Ses deux frères d'exil, James Baldwin et Chester Himes vont fouiller dans les souvenirs de leur trio, entre amitié intense et rivalité féroce.

0:00 - Intro & Summary2:00 - Movie Discussion43:21 - Cast & Crew47:07 - Awards49:06 - Pop Culture50:02 - TV52:57 - Music54:59 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

CHRIS OFFUTT chats to Paul Burke about THE KILLING HILLS, Kentucky, land and culture, spy fiction and photography.THE KILLING HILLS: Mick Hardin, a combat veteran now working as an Army CID agent, is home on a leave that is almost done. His wife is about to give birth, but they aren't getting along. His sister, newly risen to sheriff, has just landed her first murder case, and local politicians are pushing for city police or the FBI to take the case. Are they convinced she can't handle it, or is there something else at work? She calls on Mick who, with his homicide investigation experience and familiarity with the terrain, is well suited to staying under the radar. As he delves into the investigation, he dodges his commanding officer's increasingly urgent calls while attempting to head off further murders. And he needs to talk to his wife. The Killing Hills is a novel of betrayal - sexual, personal, within and between the clans that populate the hollers - and the way it so often shades into violence. Chris Offutt has delivered a dark, witty, and absolutely compelling novel of murder and honour, with an investigator-hero unlike any in fiction.CHRIS OFFUTT is the author of the short-story collections Kentucky Straight and Out of the Woods, the novels The Good Brother, Country Dark and The Killing Hills, and three memoirs: The Same River Twice, No Heroes, and My Father, the Pornographer. His work has appeared in Best American Short Stories and Best American Essays, among many other places. He has written screenplays for Weeds, True Blood, and Treme, and has received fellowships from the Lannan and Guggenheim foundations.Recommendations British TV: The Sandbaggers, Callan & Y GwyllBooks:Melissa Ginsburg The House UptownDomenic Stansberry The Ancient RainWilliam McIlvanney Laidlaw trilogyMick Herron, Jean-Claude Izzo, Walter Mosley, Chester Himes, John le Carré & Massimo Carlotto.Produced by Junkyard DogMusic courtesy of Southgate & LeighCrime TimePaul Burke writes for NB magazine, Crime Fiction Lover, Crime Time and the European Literature Network. He also edits and presents the Crime Time FM podcast and is a book collector and lover of crime fiction. 

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David L. Ulin is the editor of the Library of America's Joan Didion: The 1960s and 70s, the editor of Air/Light literary journal, and the former books editor for the Los Angeles Times. I think [Joan Didion] is a corrective. Part of what drew me to her initially was that her inner weather and my inner weather are not that dissimilar. So there was that sense of recognition, but also the idea of her as a corrective of all that sunshine-y, California lotus-land myth. She is actively trying to destroy that mythology. And I think that as someone who resists that mythology because it reduces the state to the level of a cliche--it reduces the culture and the place to the level of a cliche--I liked that idea.  Notes and references from this episode: Sidewalking: Coming to Terms with Los Angeles, by David L. UlinEasy Rawlins series, by Walter MosleyDavid Trinidad, Poetry FoundationEat the Mouth That Feeds You - by Carribean FregozaIn the Watchful City, by S. Qiouyi LuIf He Hollers Let Him Go, by Chester Himes  The Socialist Who Won a Democratic Primary and the Dirty Hollywood Politics That Sunk His Campaign, by Zelda Roland, KCETDreaming: Hard Luck And Good Times In America, by Carolyn SeeGolden Days, by Carolyn SeeThe Nowhere City, by Alison LurieI Should Have Stayed Home, by Horace McCoyThe Flutter of an Eyelid, by Myron BrinigJoan Didion: The 1960s and 70s (Library of America), edited by David L. UlinLabyrinth, by David L. Ulin =====Theme music by Sounds SupremeTwitter: @WhatCaliforniaSubstack newsletter: whatiscalifornia.substack.comSupport What is California? on Patreon: patreon.com/whatiscaliforniaEmail: hello@whatiscalifornia.comPlease subscribe wherever you get your podcasts. And if you liked What is California?, please rate and review What is California? on Apple Podcasts! It helps new listeners find the show.

Nous rendons hommage à cet artiste décédé ces dernières heures, et passé sur nos ondes il y a bien longtemps.Dans l'émission, Jean François et Rémy diffusent des extraits d'une interview réalisée par Loik Dury et Ivan Smagghe pour leur émission GONZO. Melvin y évoque son travail pour le journal Hara Kiri, sa rencontre avec l'écrivain Chester Himes mais aussi son film le plus célèbre Sweet Sweetback's Baadasssss Song. See acast.com/privacy for privacy and opt-out information.

Chicago, 1944. Aki Ito and her parents arrive in town, expecting to be met by Rose, their oldest daughter. But tragedy has struck, and now Aki Ito is determined to discover what happened to her sister in this historical thriller. Naomi Hirahara joins us on the show to discuss sisterhood and coming-of-age, Japanese-American Internment and the 100-442nd Infantry Battalion, and the influence Chester Himes, Walter Mosley and Barbara Neely had on her work — and more. Featured Books: Clark and Division and the Mas Arai series by Naomi Hirahara and Japanese Americans in Chicago, Illinois by Alice Kishiye Murata. Produced/Hosted by Miwa Messer and engineered by Harry Liang.   Follow us here for new episodes Tuesdays and Thursdays.

#OTD Crime novelist Chester Himes was born in Jefferson City, Missouri. Educator Angela James narrates.

Today we continue our Juneteenth special with author Chester Himes 1934-1980 and writer of hardboiled black detective fiction. All information I got from Polar Noir: Reading African-American Detective Fiction For more info on Juneteenth read up on it at History.com To support the show Join us on www.Patreon.com/TheCozySleuth or at www.ko-fi.com/thecozysleuth For show merch go to www.zazzle.com/themysticcozy

Americans love Paris. The food. The art. The language. Black Americans also love Paris--for different reasons. The freedom. The equality. The experience of living in a "colorblind" society. This led many Black Americans to settle in Paris. James Baldwin. Chester Himes. Beauford Delaney. Josephine Baker. Jazz musicians. Artists.  Military servicemen. Black Americans were looking for a "home" where they could live without the pervasive racism and violence in America. For many, Paris became this new home. The Espresso Talk Today team discusses the Black American presence and influence in Paris with Monique Wells who founded Entrée to Black Paris tours, which conducts tours of Paris focusing on the Black American and Black diasporan presence in the City of Lights. Join the team to learn the surprising and untold stories of Black Americans in Paris. Forget the Eiffel Tower. See the café where America's greatest Black writers would gather in Paris! 

We explore some of our favorite crime novels, the genre at large as part of mystery, and pick apart the differences between detective novels (tending to support law & order) vs caper novels (tending to be anti-establishment or radical) and the exceptions. Crime and caper novels can be historic or modern, and cross every genre. What do you need to think about when writing crime stories? We have some ideas. … Continue...Episode 102 – Crime and Euphemisms

Johny Pitts talks to Jon McGregor about his latest novel Lean Fall Stand, inspired by a trip to Antarctica. Opening with sparse, barely describable landscape in the midst of a storm, it follows Robert "Doc" Wright's recovery in the aftermath and sensitively examines heroism, modern masculinity and the failure of words. Chester Himes is an often overlooked favour of his Black American contemporaries Ralph Ellison, Richard Wright and James Baldwin, despite also attempting to carve out a literary career in Paris. With his better-known Harlem detective series being reissued, his biographer Lawrence P. Jackson and crime writer Dreda Say Mitchell discuss his prescient legacy. And looking ahead to next month, Francesca Main of Phoenix Books chooses a multi-generational story of love, family and Indian history as her Editor's Tip. BOOK LIST: Lean Fall Stand by Jon McGregor A Rage in Harlem by Chester Himes Cotton Comes to Harlem by Chester Himes Lonely Crusade by Chester Himes Cast the First Stone by Chester Himes If He Hollers Let Him Go by Chester Himes Chester B Himes: A Biography by Lawrence P Jackson Shelter by Lawrence P Jackson China Room by Sunjeev Sahota

durée : 01:29:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Laure Adler (1) et Jean-Claude Charles (2) - Avec 1 : François Truffaut, Patricia Hitchcock, Daniel Gélin, Bruno Villien et Jean Douchet ; 2 : Walter Coleman, Nelcia Delanoë, Gordon Heath, Michel Fabre, Yvonne et Yves Malartic - Réalisation Josette Colin (1) et Paméla Doussaud (2) - réalisation : Virginie Mourthé

durée : 01:29:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Laure Adler (1) et Jean-Claude Charles (2) - Avec 1 : Pascal Bonitzer, Odette Ferry, Jean Douchet, François Truffaut, Bruno Villien et Claude Rocle ; 2 : Walter Coleman, Gordon Heath, Michel Fabre, Yvonne et Yves Malartic et Robert Soulat - Réalisation Josette Colin (1) et Paméla Doussaud (2) - réalisation : Virginie Mourthé

durée : 01:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Laure Adler (1) et Jean-Claude Charles (2) - Avec 1 : François Truffaut, Jean Douchet, Bruno Villien, Pascal Bonitzer, Michel Cournot et Daniel Gélin ; 2 : Walter Coleman, Gordon Heath, Michel Favre, Yvonne et Yves Malartic, Jean-Michel Foucault, Wolinski et Nelcya Delanoë - Réalisation Josette Colin (1) et Paméla Doussaud (2) - réalisation : Virginie Mourthé

durée : 01:29:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Laure Adler (1) et Jean-Claude Charles (2) - Avec 1 : Bruno Villien, Patricia Hitchcock, François Truffaut et Pascal Bonitzer ; 2 : Walter Coleman, Gordon Heath, Michel Favre, Yvonne et Yves Malartic et Jean-Michel Foucault - Réalisation Josette Colin (1) et Paméla Doussaud (2) - réalisation : Virginie Mourthé

durée : 01:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Laure Adler (1) et Jean-Claude Charles (2) - Avec 1 : Bruno Villien, Patricia Hitchcock et François Truffaut ; 2 : Walter Coleman, Gordon Heath, Michel Favre, Yvonne et Yves Malartic et Jean-Michel Foucault - Réalisation Josette Colin (1) et Paméla Doussaud (2) - réalisation : Virginie Mourthé

We end Noiruary with an adaptation of a Chester Himes novel that puts a decidedly absurdist spin on the hard-boiled noir genre in the Bill Duke directed A Rage in Harlem. Starring Forest Whittaker and Gregory Hines, the film follows the two estranged brothers as they attempt to get one the woman of his dreams and the other a chest full of gold. The film meshes comedy with a heavy dash of bloodshed in a film that is as good as any Himes' adaptation gets. DC Titan's Richard Hatem, The Projection Booth's Mike White, and Pulp Serenade's Cullen Gallagher join Chris to talk about the performances, the comedy, and the strange tone.You can follow Chris Stachiw at @Casualty_Chris and the Kulturecast @kulturecast. The music is Forever Sunset's Santa Monica Dreaming. You can also subscribe to the Kulturecast on iTunes here. Also, don't forget to check out our official Facebook page for news, upcoming reviews, contests, and new content, along with our Patreon page.

When Chief Albert Luthuli won the Nobel Peace Prize he was living under a banning order in rural South Africa. He won the prize for advocating peaceful opposition to the Apartheid regime. We hear from his daughter Albertina and speak to a South African historian about his legacy. Plus the cave discovery in France that changed the way we think about Neanderthals, the best-selling African-American crime writer Chester Himes, celebrating 100 years since a cinematic first and the reintroduction of beavers that's helping restore Scotland's ecosystem. (Picture: Albert Luthuli receives the Nobel Peace Prize in 1961. Credit: Keystone/Hulton Archive)

The African-American crime writer Chester Himes first found widespread success in France. Although his early works had been published in the USA it was only after he moved to Europe and started writing crime fiction that he began to sell large numbers of books. Vincent Dowd has been speaking to writer Alex Wheatle, and Himes' biographer, Pim Higginson, about his life and works. Photo: Chester Himes. (Copyright: Afro American Newspapers/Gado/Getty Images)

For the 100th episode of I Found This Great Book, I was honored to speak with Dr. Frankie Y. Bailey. Frankie is a crime historian, the creator of Frankie’s list on the Sisters in Crime website and the author of two mystery series. Frankie is also the author of “African American Mystery Writers: A Historical and Thematic Study”. This book is a great resource for anyone who wants to learn about the history of black authors contribution to the mystery genre. Follow Frankie on her website: www.frankieybailey.com To stay up to date on the conference for crime writers of color, keep visiting the Justice and Multiculturalism in the 21st century website. Hosted by the School of Criminal Justice at the University of Albany. We discussed: [00:01:42]            Frankie’s sleuth in her Lizzie Stewart mystery series. Frankie discusses here motivations for the series and her writing process. Also, the challenges of writing when your cat has another agenda. [00:06:29]           We talk about Frankie’s Hannah McCabe series. Frankie talks about her technique of setting the stories in the near future and her future for the plans for the series. [00:09:46]            Frankie shares the differences between writing a police procedural and an amateur sleuth mystery. Frankie also gives us insight into a historical mystery she is working on. [00:15:39]            Frankie tells us about her plans for the Lizzie Stewart mystery series [00:17:59]            Frankie talks about how her work as a crime historian has influenced her writing. [00:21:51]            We talk about Eleanor Taylor Bland and her early efforts to connect and promote black mystery authors. [00:26:53]            We discuss how Frankie’s List was created. [00:29:05]            We discuss “African American Mystery Writers: A Historical and Thematic Study”. [00:34:53]            Frankie recommends two of the early black authors in the mystery genre. Pauline Elizabeth Hopkins and Rudolph Fisher. [00:45:01]            Frankie shares her insight on how the publishing world has changed for Black mystery authors since Chester Himes. [00:47:23]            We talk about Frankie’s plans for a virtual conference for Crime Writers of Color at the University of Albany in March 2021. [00:52:18]            Frankie shares some more information on her next Lizzie Stuart book.

On fête les 35 ans de la publication de son premier roman « Comment faire l'amour avec un Nègre sans se fatiguer », satire féroce, insolente et drôle des stéréotypes et des clichés racistes. Il est notre invité pour en parler ! « Bagarre dans la Discothèque » dès 11h30, avec Nicolas Herman et Guillermo Guiz. Et dès midi : L'Objet Pop de Nicolas Herman : le Golden Gate Bridge, qui surplombe la ville de San Francisco. L'écrivain canado-haïtien, membre de l'Académie française, Dany Laferrière pour les 35 ans de la publication de son premier roman "Comment faire l'amour avec un Nègre sans se fatiguer". Pour l'occasion, les éditions Zulma le réédite. Dans la moiteur de l'été, deux jeunes hommes paressent dans une chambre poisseuse de Montréal. Ils boivent, mangent, rient, lisent et baisent quand ça se présente. Et ça se présente, car la drague est joyeusement efficace. Torse nu sur son divan, l'un écoute Charlie Parker et Archie Shepp en philosophant, quand il ne dort pas trois jours d'affilée. L'autre rêve de devenir écrivain, il lit Baldwin, Hemingway, Henry Miller ou Bukowski, et s'extasie devant l'appétit sexuel des jeunes filles sérieuses. Ils dissertent sur la beauté et l'origine du désir, sur la Blanche et le Nègre. Et ça fait des étincelles dans un grand éclat de rire jazz. Machine à écrire, ruban neuf, papier immaculé : la vieille Remington 22 qui a appartenu à Chester Himes est riche de promesses... L'écrivain est en route ! "Machins, Machines" d'Hélène Maquet : Berkeley 1964 et le "Free Speech Movement". Le « Mouvement pour la liberté d'expression » est est un mouvement de contestation étudiant qui se manifesta pendant l'année scolaire 1964-1965 sur le campus de l'université de Berkeley. Le Free Speech Movement réclamait la reconnaissance de la liberté d'expression et de la liberté académique des étudiants.

L'écrivain canado-haïtien, membre de l'Académie française, Dany Laferrière pour les 35 ans de la publication de son premier roman "Comment faire l'amour avec un Nègre sans se fatiguer". Pour l'occasion, les éditions Zulma le réédite. Dans la moiteur de l'été, deux jeunes hommes paressent dans une chambre poisseuse de Montréal. Ils boivent, mangent, rient, lisent et baisent quand ça se présente. Et ça se présente, car la drague est joyeusement efficace. Torse nu sur son divan, l'un écoute Charlie Parker et Archie Shepp en philosophant, quand il ne dort pas trois jours d'affilée. L'autre rêve de devenir écrivain, il lit Baldwin, Hemingway, Henry Miller ou Bukowski, et s'extasie devant l'appétit sexuel des jeunes filles sérieuses. Ils dissertent sur la beauté et l'origine du désir, sur la Blanche et le Nègre. Et ça fait des étincelles dans un grand éclat de rire jazz. Machine à écrire, ruban neuf, papier immaculé : la vieille Remington 22 qui a appartenu à Chester Himes est riche de promesses... L'écrivain est en route !

L'Objet Pop de Nicolas Herman : le Golden Gate Bridge, qui surplombe la ville de San Francisco. L'écrivain canado-haïtien, membre de l'Académie française, Dany Laferrière pour les 35 ans de la publication de son premier roman "Comment faire l'amour avec un Nègre sans se fatiguer". Pour l'occasion, les éditions Zulma le réédite. Dans la moiteur de l'été, deux jeunes hommes paressent dans une chambre poisseuse de Montréal. Ils boivent, mangent, rient, lisent et baisent quand ça se présente. Et ça se présente, car la drague est joyeusement efficace. Torse nu sur son divan, l'un écoute Charlie Parker et Archie Shepp en philosophant, quand il ne dort pas trois jours d'affilée. L'autre rêve de devenir écrivain, il lit Baldwin, Hemingway, Henry Miller ou Bukowski, et s'extasie devant l'appétit sexuel des jeunes filles sérieuses. Ils dissertent sur la beauté et l'origine du désir, sur la Blanche et le Nègre. Et ça fait des étincelles dans un grand éclat de rire jazz. Machine à écrire, ruban neuf, papier immaculé : la vieille Remington 22 qui a appartenu à Chester Himes est riche de promesses... L'écrivain est en route ! "Machins, Machines" d'Hélène Maquet : Berkeley 1964 et le "Free Speech Movement". Le « Mouvement pour la liberté d'expression » est est un mouvement de contestation étudiant qui se manifesta pendant l'année scolaire 1964-1965 sur le campus de l'université de Berkeley. Le Free Speech Movement réclamait la reconnaissance de la liberté d'expression et de la liberté académique des étudiants.

IT'S A CRIME THAT HISTORY REPEATS ITSELF. 'Sensationally good - new, fresh, real, authentic, twisty, with characters and dilemmas that will break your heart. ' LEE CHILD 'Every once in a while a writer comes along with an incredible voice. Think Elmore Leonard, or Chester Himes...add S. A. Cosby to that list." STEVE CAVANAGH Beauregard "Bug" Montage: honest mechanic, loving husband, devoted parent. He's no longer the criminal he once was - the sharpest wheelman on the east coast, infamous from the hills of North Carolina to the beaches of Florida. But when his respectable life begins to crumble, a shady associate comes calling with a clean, one-time job: a diamond heist promising a get-rich payout. Inexorably drawn to the driver's seat - and haunted by the ghost of his outlaw father - Bug is yanked back into a savage world of bullets and betrayal, which soon endangers all he holds dear... Like Breaking Bad in a high-speed collision with Drive, this stunning debut holds up a cracked mirror to the woozy ideals of the American dream - a dazzling, operatic story of a man pushed to his limits by poverty, race and a scarred, self-destructive masculinity. 'Blacktop Wasteland is an urgent, timely, pitch-perfect jolt of American noir.' DENNIS LEHANE '...S. A. Cosby reinvents the American crime novel. Blacktop Wasteland thrums and races - it's an intoxicating thrill of a ride'. WALTER MOSLEY The perfect page-turning read for fans of acclaimed writers such as Don Winslow, Attica Locke, Bill Beverley and Thomas Mullen.

“Tengo treinta y tres años, fui a la universidad una temporada y todavía se hablar inglés si alguien me lo pide, cosa que no sucede con mucha frecuencia en mi oficio. Trabajé en una ocasión como investigador para el señor Wilde, el fiscal del distrito. Su investigador jefe, un individuo llamado Bernie Ohls, me llamó y me dijo que quería usted verme. Sigo soltero porque no me gustan las mujeres de los policías….Me despidieron. Por insubordinación. Consigo notas muy altas en materia de insubordinación, mi general”. “El sueño eterno”. Raymomd Chandler. Los años de la Depresión y la segunda guerra mundial van a suponer la presencia obsesiva del miedo tanto individual como colectivo. Los cinco años de guerra dejan terribles secuelas: los millones de muertos y heridos en combate y el terror a la bomba atómica. Sin embargo, para los intelectuales lo peor aún no había llegado: en 1.947, el presidente Truman instauraba la “guerra fría” con la intención de aislar la creciente influencia internacional del comunismo. Esto trajo consigo la creación del Comité de Actividades Antinorteamericanas que, impulsado por el senador Mcarthy, llevó a cabo desde 1.950 a 1.954, con su tristemente famosa “caza de brujas”, la más implacable persecución de izquierdistas y progresistas que recuerda la reciente historia de los Estados Unidos. De entre los muchos escritores represaliados hay que citar a Dashiell Hammett y Howard Fast. Así pues, aunque sobreviven las tendencias “hard boiled”, llegando a alcanzar incluso una de sus cimas señeras con la obra de Raymond Chandler, la tendencia predominante va a ser la psicología criminal, que, aunque surgida en el decenio anterior, estaba más en consonancia con una sociedad traumatizada. Este subgénero se centra en la exploración psicológica del crimen y del criminal. La novela negra, no obstante, va a ir fragmentándose en otros subgéneros, como la “crook story”, basada en la vida de los delincuentes profesionales; la “police procedural”, relativa a la policía y a sus métodos de investigación, no siempre lícitos, y a la “penintentiary story”, que, narrada por los propios presos, describe la vida en las prisiones. La guerra fría y la represión mcCarthiysta son el caldo de cultivo en que germinan la violencia y la obsesión sexual del Mike Hammer de Mickey Spillane, la crítica acerada de David Goodis, cronista de una sociedad regida por el miedo y en la que cualquier ciudadano pude convertirse en víctima, y la solidaridad y la denuncia de la corrupción que caracteriza la obra de William P. McGivern. Sólo por el personaje de Philip Marlowe, una de las creaciones más extraordinarias del género, Raymond Chandler (1.888-1.959), el renovador y maestro indiscutible del “hard boiled”, junto a Hammett, ocupa ya un lugar en primera fila en la novelística contemporánea. Marlowe, que entró inmediatamente en la leyenda, en gran parte gracias a las interpretaciones cinematográficas de Humphrey Bogart, se caracteriza por ser un hombre sensible y solitario, apasionado por la verdad, moralista y algo cínico. La corrupción de la sociedad, donde la obtención del dinero y el poder lo es todo, es uno de los temas prioritarios en el conjunto de la obra de Chandler, y puede afectar tanto a las fuerzas policiales como a los políticos. Enfrentados a esa corrupción y al paso del tiempo que todo lo destruye, lo único a lo que pueden aferrarse los protagonistas de Chandler, hombres duros e independientes, acostumbrados a codearse con criminales y policías, es su código individual del honor. Partiendo de Chandler, Ross MacDonald (1.915-1.983) crea una serie de novelas protagonizadas por Lew Archer (ex-delincuente, ex-policía, antiguo miembro del contraespionaje americano y divorciado), narrada en primera persona por el propio detectiva, especializado en los dramas familiares de la decadente clase alta californiana. La obra de esta autor, pesimista y desencantada, experimenta una evolución que va desde una primera época caracterizada por la acción y la violencia hasta una segunda etapa de mayor distanciamiento y objetividad que lleva a actuar a Archer en un segundo plano, como una especie de hilo conductor de la trama, en la que el detective desempeña el papel de psicólogo. Patricia Highsmith, escritora americana residente en Europa, es la figura femenina más destacada de la novela negra. El grueso de su producción se inscribe en la psicología criminal y en la crook story; el delincuente como protagonista. Su obra destaca especialmente por centrarse en la génesis del crimen, que suele partir de una gran idea, y por la singular importancia que le concede al comportamiento del delincuente, generalmente masculino, mezcla de instinto y razón. Todo ello está enmarcado en ambientes de la vida cotidiana y contado a un ritmo lento que contribuye a crear una peculiar atmósfera de violencia verbal y psicológica. Frente a la versión maniquea que frecuentemente se ofrece de la realidad en la novela de detección, el conjunto de la obra de Patricia Highsmith nos presenta un aguafuerte complejo, frío y corrosivo de las relaciones humanas, en especial las de pareja. El inquietante y peculiar delincuente Tom Ripley, protagonista de varias de sus obras, ilustra lo dicho. Cabría destacar, por último, la obra policíaca de Fredric Brown (1.906-1.972), adscribible plenamente a la psicología criminal, aunque su lirismo fantástico y su sentido del humor algo surrealista lo alejan un tanto de los cánones de esta corriente. En sus argumentos pueden rastrearse elementos autobiográficos y una despiadada crítica de la sociedad. Brown explora la moral oculta de dicha sociedad, valiéndose de un sutil análisis del comportamiento de sus personajes, a los que a menudo coloca en situaciones al borde de la pesadilla. A partir de los años sesenta la novela negra deja de ser un coto cerrado para escritores norteamericanos y su influjo se expande por todos los países del mundo occidental, arraigando especialmente en Francia, Italia y España con novelistas de la talla de J.P. Manchette, de G. Scerbanenco y de Manuel Vázquez Montalbán, respectivamente. Y es tal la cantidad de escritores que surgen, con sus peculiares interpretaciones del personaje del detective privado, que resulta imposible enumerarlos en este breve recorrido por la novela policial. Ello es muestra inequívoca de que este género es el paradigma por excelencia de la cultura urbana y postindustrial, al margen de sistemas políticos, sociales y económicos. Que el género policial permanece abierto a cualquier realidad lo prueba su capacidad para adaptarse temáticamente a las consecuencias de los sucesos históricos más relevantes, ya sean los asesinatos de los Kennedy y Martin Luther King, las guerras de Vietnam , Afganistán, los Balcanes, el terrorismo, los movimientos hippy o punk, las revueltas raciales de la población negra en los Estados Unidos en la década de los sesenta,etc...Asimismo ha sabido amoldarse a las transformaciones sociales con sus nuevas pautas morales y formas delictivas que van desde el terrorismo internacional a los complejos delitos financieros. Novelistas de ganado prestigio como Truman Capote con “A sangre fría” de 1.965 o Norman Mailer con “Un sueño americano” del mismo año se decantan hacia el tema criminal y obtienen un gran éxito de ventas, lo que lleva a otros escritores a la busca de un resonante best-seller como el logrado por Mario Puzo con “El padrino” en 1.969. Las crecientes reivindicaciones raciales tienen como consecuencia la aparición a mediados de los sesenta en la literatura, y en el cine, de una pléyade de detectives negros, rompiendo así con la tradición del género de que estos, tanto privados como oficiales, sean de raza blanca. De entre ellos habría que destacar a Sepulturero Jones y Ataúd Ed Johnson, protagonistas de varias novelas de uno de los mejores narradores de este periódo: Chester Himes (1.909-1984). Los métodos de los policías de Himes se basan en la brutalidad, producto de la dura realidad en que se mueven, la jungla del superpoblado barrio de Harlem, en Nueva York, verdadero epicentro de todas estas obras. El protagonismo concedido a los negros es también una de las variadas facetas del prolífico Donald Westlake, uno de los valores más sólidos de la novela negra. En su compleja y amplia producción destacan la humanidad, el lirismo, y, sobre todo, el humor. Este último, junto con la ironía y el sarcarmo, está basado en el planteamiento de situaciones absurdas en un contexto realista, lo que lo convierte en un renovador del género. El éxito de las colecciones policíacas, la creciente celebración de premios y congresos, las continuas adaptaciones cinematográficas y televisivas y la utilización del estilo narrativo policíaco por parte de un gran número de escritores contemporáneos, como Umberto Eco o Eduardo Mendoza, parece confirmar que el género policíaco goza todavía de mejor salud que nunca, a pesar de los agoreros que no dejan de vaticinar su próximo fin. El género policíaco ha atraído a tantos y a tan diversos lectores, que ha llegado a decirse que es una auténtica máquina de crear lectores. Espero que, si aún no es así, muchos descubran también la fascinación que ejerce el misterio y el placer que proporciona resolverlo tras una lectura atenta y creativa.

This episode is a review of the book A Rage in Harlem aka  Five corner Square aka For Love of Imabelle by Chester Himes and the movie adoption A Rage in Harlem A Rage in Harlem" is a ripping introduction to Coffin Ed Johnson and Grave Digger Jones, patrolling New York City's roughest streets in Chester Himes's groundbreaking Harlem Detectives series. For love of fine, wily Imabelle, hapless Jackson surrenders his life savings to a con man who knows the secret of turning ten-dollar bills into hundreds--and then he steals from his boss, only to lose the stolen money at a craps table. Luckily for him, he can turn to his savvy twin brother, Goldy, who earns a living--disguised as a Sister of Mercy--by selling tickets to Heaven in Harlem. With Goldy on his side, Jackson is ready for payback.

Sospechoso: Chester Himes. Acusación: Señaló con sus novelas una anomalía histórica, el racismo y la desigualdad imperante en la sociedad americana. También nos sumerge en las calles de Harlem cono nadie había hecho antes, mostrándonos sus paisajes y su paisanaje sin filtros y con mucha ironía. Cómplices: Los dos detectives más cool de la policía neoyorkina, […] The post Chester Himes first appeared on Sons Podcasts.

durée : 01:15:03 - Les Nuits de France Culture - Rencontre avec James Sallis auteur de romans policier et de science-fiction, il était l'invité de "Mauvais genres" en 2002, à l'occasion de la sortie de son livre consacré à la vie de l'écrivain Chester Himes.

Luckily I got to speak to Bill Duke! Film director and actor Bill Duke was born on February 26, 1943 in Poughkeepsie, New York and is the son of Ethel Douglas Duke and William Duke, Sr. After earning his A.A. degree from Dutchess Community College, Duke became interested in the performing arts while attending Boston University, although he initially enrolled as a pre-med student. He eventually majored in theater there and then went on to earn a M.A. degree in fine arts from New York University's Tisch School of the Arts. Duke later enrolled in the American Film Institute (AFI). Duke began his career as an actor in New York City theaters like The Public Theater and New Federal Theater, performing in plays such as LeRoi Jones' Slave Ship and Melvin Van Peebles' musical Ain't Supposed to Die a Natural Death. Duke's first movie role came in 1976 when he portrayed a fierce young Black Muslim revolutionary named “Abdullah Mohammed Akbar” in Car Wash. Duke's television directorial debut came in 1982 when he directed episodes of Knot's Landing, Falcon Crest, and Flamingo Road for Lorimar Productions. Duke's most prominent and critically acclaimed television work, however, has been his direction of teleplays for the PBS series American Playhouse including “The Killing Floor,” “A Raisin in the Sun,” and “The Meeting,” a 90-minute drama that depicted an imaginary meeting between Dr. Martin Luther King, Jr., and Malcolm X. During the 1980s, Duke amassed more than 100 television directing credits, including more than 70 episodes of roughly 20 television series such as Miami Vice, Dallas, Crime Story, Cagney and Lacey and Hill Street Blues. Duke directed his first feature film in 1990, a film adaptation of Chester Himes' novel A Rage in Harlem. Duke went on to direct many other films including Deep Cover, Sister Act 2, Hoodlum and Deacons for Defense. In 2004, Governor Arnold Schwarzenegger appointed Duke to the California Film Commission, which works to enhance the economic climate of the state by keeping film industry jobs in California. Duke also works with non-profit and charity organizations such as Educating Young Minds, an organization that helps inner-city students excel at school and in life. Duke is the recipient of numerous awards including the AFI's Lifetime Achievement Award, the NAACP's Special Award for Outstanding Achievement, SCLC's Drum Major for Justice Film Award and a Cable Ace Award. President Bill Clinton appointed Duke to the National Endowment for the Humanities. You can find Bill Duke on twitter here: https://twitter.com/RealBillDuke?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorBuy Bill's book here! https://www.amazon.com/dp/B07GQFXZ7Y/ref=cm_sw_r_tw_dp_U_x_NXfQBb5A6369SWhile many film fans may not be familiar with Bill Duke's name, they most certainly recognize his face. Dating back to the 1970s, Duke has appeared in a number of popular films, including Car Wash, American Gigolo, Commando, Predator, and X-Men: The Last Stand. Fewer still might be aware of Duke's extraordinary accomplishments off-screen—as a talented director, producer, entrepreneur, and humanitarian. You can also check my documentary The People of Brixton, on Kwelitv here: https://www.kweli.tv/programs/the-people-of-brixton?autoplay=true Damien Swaby Social Media Links: Instagram https://www.instagram.com/damien_swaby_video_producer/Twitterhttps://twitter.com/DamienSwaby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorFacebookhttps://www.facebook.com/Damien-Swaby-213805135363397/?ref=bookmarksBill Duke talking about his last film being shot on an iPhone and directed by Steven Soderbergh, influenced me to make my latest short film on one. You can view it here! https://vimeo.com/348228831

Today we shine a spotlight on crime novelist

Today we shine a spotlight on crime novelist

On this episode of the Yay, Norman and I bring on Shaye Angelo Acevedo, a brilliant bay area actor who was our Chester Himes in my production, Four Men in Paris. Shaye is also a singer and musician. You can directly contact Shaye via Facebook or on Instagram here: SAngeloAcevedo SHOUTOUTS: The Victorian Ladies' Detective Collective (Central Works Theatre) May 4 – June 2 Alan Coyne (Episode 29) is in the show Gary Graves (Episode 24) is directing the show www.centralworks.org Women on the Verge of a Nervous Breakdown (Town Hall Theatre) May 30 – June 22 https://www.townhalltheatre.com Melvygn Badiola (Episode 89), Deb Carriger (Episode 52) and yours truly (Reg Clay) is in the show Bakersfield Mist (Off-Broadway West) May 3 – June 1 http://www.offbroadwaywest.org Richard Harder (Episode 26) is directing the show

This week, Tom Tivnan of The Bookseller discusses with Ivan six things which he thinks should be better known. Patrick O’Brian www.theatlantic.com/entertainment/archive/2015/09/the-next-great-tv-show-if-only-someone-will-make-it/403837/ Great Molasses Flood of 1919 www.bostonglobe.com/magazine/2019/01/09/the-great-molasses-flood-was-boston-strangest-disaster/VawySumFUf5vKCibM9PLtJ/story.html Dark www.theverge.com/2017/12/1/16724852/netflix-dark-review-first-german-streaming-series Chester Himes www.lrb.co.uk/v40/n08/adam-shatz/writing-absurdity The People’s Almanac https://www.amazon.com/The-Peoples-Almanac-David-Wallechinsky/dp/0385040601 Scottish Borders www.visitscotland.com/blog/family-2/days-out-south-scotland/ This podcast is powered by ZenCast.fm

"If it’s drowning you’re after, don’t torment yourself with shallow water" - Proverb Cotton Comes to Harlem - 1970 - Ossie Davis A Rage In Harlem - 1991 - Bill Duke Sponsor: peoplewatching.ca Email: allunitspodcast@gmail.com Subscribe on iTunes: https://itunes.apple.com/us/podcast/all-units/id1241776225?mt=2

Zahra Gordon is an award-winning Caribbean American poet, journalist and writer living in La Brea, Trinidad & Tobago. On this episode Zahra recounts her experiences growing up in both Trinidad and the United States. We learn of Zahra’s mission to rescue voices from the past before they disappear, and gain a glimpse into the vibrant ecosystem of thought that creates Zahra’s art. Zahra’s blog, “Zee Speaks,” contains links to her published work. In addition, Zahra runs Speakeasy Solutions, which provides private tuition in English language, literature, reading and creative writing. Zahra’s “Three Things:”* TEZA, a film by Haile Gerima*Citizen, a book by poet Claudia Rankine*The works of Kerry James Marshall Zahra also mentioned authors Chester Himes, Zora Neal Hurston, and professor, scholar and poet R. Victoria Arana.Art Lives Theme and Incidental music composed by Nicholaus Meyers. Art Lives Logo created by Eduardo Moreno. Art Lives is available here and on Apple Podcasts. Art Lives Podcast RSS

Debbi Mack interviews crime writer Paul Heatley on this episode of the Crime Cafe. Check out the show notes below! Or, if you're in a rush, download your copy here! Debbi: [00:00:13] Hi, everyone. This is the Crime Cafe, your podcasting source of great crime, suspense, and thriller writing. I'm your host Debbi Mack. Before I bring on my guest, I'll just remind you that the Crime Cafe has two ebooks for sale: the nine book box set and the short story anthology. You can find the buy links for both on my website debbimack[dot]com, under the Crime Cafe link. You can also get a free copy of either book if you become a Patreon supporter. You'll get that and much more if you support the podcast on Patreon, along with our eternal gratitude for doing so. [00:01:02] It's my pleasure today to have as my guest the author of the Eye for an Eye series, one of which I'm currently in the midst of reading and thoroughly enjoying, as well as other novels and more than 50 short stories. Very impressive. I mean, it just amazes me. Anyway, from northeast England, it's Paul Heatley. Hi, Paul. Paul: [00:01:29] Hello, Debbi. Debbi: [00:01:30] It's great to have you on. Paul: [00:01:32] Thank you. Good to be here. Debbi: [00:01:34] Excellent. How would you describe your books in terms of genre or subgenre? Paul: [00:01:43] Crime fiction noir. That's the best way to describe them. Sometimes I set them in America. Sometimes I set them here in northeast England. I think it just depends on what kind of story I'm trying to tell and how I think it can be best presented. Some story ideas come to me and I just think that wouldn't work in England. [00:02:03] But I do watch a lot of American movies and a lot of American TV shows. I read a lot of American books and I think that's what has a big influence on me and why I end up setting things in America and why when I get ideas, after going through them. I'm like, "Is this English? Is it American?" And that's how the creative process grows as the setting process. Debbi: [00:02:24] That's very interesting. I noticed you did mention a lot of American authors as influential. James Ellroy, Jim Thompson, and Chester Himes being your big three there. And I've read all of them and enjoy all of them. They're great authors. Are there any particular books by them that you find particularly inspirational? Paul: [00:02:48] Yeah. For James Ellroy, it would be Black Dahlia. That was probably the first crime book I read that a big impact, because that was a big shock for me to see that crime fiction could be dark. And that sounds silly, but I read it when I was about 16 or 17, and up to that point, my only knowledge of crime fiction was ... it wasn't anything I'd read. It was adaptations of Agatha Christie, and you know, if you're not in that kind of thing, you're not going to be into that kind of thing. But then I read James Ellroy and you had these incredibly dopey policemen and sociopathic serial killers, and it was just something incredible to read and to discover and that's really what turned around for me. And Jim Thompson again, he came after Ellroy. And he was another one that kind of opened my eyes to what crime fiction is and what it can be, because at the same time as discovering Ellroy, I don't like police procedurals. On Paul's favorite books: "For James Ellroy, it would be Black Dahlia. That was probably the first crime book I read that a big impact, because that was a big shock for me to see that crime fiction could be dark." [00:03:48] And Jim Thompson doesn't write that. Jim Thompson, for the most part, writes from the bad guys' point of view and that's what I like. I like to read from the criminals' point of view. That's why I like noir. And Savage Night by him is my favorite. That's just totally off the rails. It's just great. Chester Himes ... anything, anything Chester Himes. I just think he's fantastic. [00:04:12] There's not a single book particularly stick...

¡Bienvenido a Travesura Realizada! Tu programa de literatura en el que te contamos todas las novedades sobre libros y cómics y donde los spoilers están penados con la muerte! En primer lugar, pese a la distancia, Yai nos trae unas cuantas notis, entre ellas los finalistas del Premio Planeta 2018. Después Aurora nos trae la reseña de una de sus últimas lecturas "La maldición del mar" y ha conseguido que todo el equipo nos quedemos con ganas de leerlo. Maldita sea xD Luis por su parte, nos habla de un autor cuya vida fue más que curiosa, se trata de Chester Himes, y además nos cuenta qué le está pareciendo una de sus novelas "Un ciego con una pistola", que es lo que se está leyendo ahora. Y por último, Maguel nos trae una minisección en la que nos recomienda un cómic y una novela que pueden leerse en una tarde.

¡Bienvenido a Travesura Realizada! Tu programa de literatura en el que te contamos todas las novedades sobre libros y cómics y donde los spoilers están penados con la muerte! En primer lugar, pese a la distancia, Yai nos trae unas cuantas notis, entre ellas los finalistas del Premio Planeta 2018. Después Aurora nos trae la reseña de una de sus últimas lecturas "La maldición del mar" y ha conseguido que todo el equipo nos quedemos con ganas de leerlo. Maldita sea xD Luis por su parte, nos habla de un autor cuya vida fue más que curiosa, se trata de Chester Himes, y además nos cuenta qué le está pareciendo una de sus novelas "Un ciego con una pistola", que es lo que se está leyendo ahora. Y por último, Maguel nos trae una minisección en la que nos recomienda un cómic y una novela que pueden leerse en una tarde.

Mission encre noire Tome 23 Chapitre 285 Front criminel, Une histoire du polar américain de 1919 à nos jours de Benoît Tadié paru en 2018 aux éditions PUF. Le polar est un genre majeur de la littérature aujourd'hui. Un livre sur quatre est un polar. Le genre s'est très vite popularisé aux États-unis, en réaction à l'avènement d'une société industrielle qui édifie sa fortune sur un état d'esprit très éloigné de ses pères fondateurs.  Le polar c'est le «soleil noir» qui se lève sur ce monde. Benoît Tadié s'immerge dans cet univers de violence sociale pour nous raconter son histoire du polar américain. L'ouvrage regorge de références inédites, d'écrivain-e-s à redécouvrir, l'auteur nous ouvre la voie vers les arcanes d'une littérature subversive et innovatrice. Dashiell Hammett, Chester Himes, Raymond Chandler, Jim Thompson êtes-vous là ? Nous recevons Benoît Tadié à Mission encre noire pour faire tourner les tables et parler aux fantômes légendaires du polar américain. Extrait: «Ce qui se perd dans ce jeu de métamorphoses, c'est l'essence de l'individu et des choses, leur identité, leur intégrité, dans un univers où l'apparence prend le pas sur l'essence, où le character disparaît au profit d'une personality interchangeable, qu'on peut acheter ou fabriquer de toutes pièces. Le discours intérieur de Philip Marlowe, qui déconstruit la machine à falsifier de Hollywood, est lui-même une manifestation de ce character: sa résistance à une civilisation mensongère est le vrai sujet des récits de Chandler.» La mort du petit coeur de Daniel Woodrell paru en 2018 aux éditions Rivages/Noir. Pour reprendre la classification de Benoît Tadié, ce roman culte américain, republié chez Rivages, est à classer entre le Tobacco road façon Erskin Caldwell et la chronique noire de James Ellroy. La violence sociale qui s'exprime dans ce Missouri rural est l'image d'une Amérique abîmée dans ses rêves de grandeur. Shug traverse son adolescence sur un fil. Son père/beau-père, Red Akins est un truand à la petite semaine. Il sort de prison. Avec Basil Powney, les deux lascars parachèvent l'éducation de Shuggy à force de braquages minables pour trouver de la drogue ou de l'alcool. ce n'est pas la famille improbable Akins qui y changera grand-chose. Sa mère le pourra-t-elle, l'envoûtante Glenda ? Personnage fantastique et symbolique de cette Amérique déchue, le couple Glenda/Shuggy incarne le crépuscule de la famille idéale américaine. Le rêve américain est mort, le saviez-vous ? oserez-vous y croire ? Attention, Denis Lehane vous aura prévenu: « Je ne connais personne qui ait lu ce roman et qui n'ait été saisi et transformé par lui.» Extrait: «Nous n'avons jamais eu peur, Glenda et moi, de vivre à proximité du champ des morts de notre bourgade, vu que nous ne leur avons jamais fait de crasses. C'était l'idée générale, tout du moins. Et Glenda l,a ressassée je ne sais combien de fois, aussi loin que je me rappelle. Elle le répétait particulièrement fréquemment quand j'étais petit, à l'heure où j'allais me coucher: « Ils sont tous sous terre, chéri, et ils n'ont rien contre toi.» Toutes nos fenêtres, y compris celle qui se trouvait près de mon lit, donnaient sur ces tombes. Il me semble que toutes les aubes et tous les crépuscules que j'ai passé à les contempler depuis cette fenêtre me poussaient de plus en plus à la solitude et à la malfaisance. Il y avait aussi des chênes majestueux et des pins sentinelles dans ce cimetière, et des écureuils cavalaient librement au milieu des trépassés, mais ce sont ces funèbres rangées de tombes qui impriment le plus durablement leur marque dans votre mémoire. C'est très exactement ce qu'on voit en les regardant: les morts d'hier et d'avant hier, les morts d'aujourd'hui, et tous ceux qui sont morts dans l'intervalle.» Quand se lève le brouillard rouge de Robin Cook paru en 2018 aux éditions Rivages/Noir. Cette fois-ci nous sommes en Angleterre, avec Robin Cook, le plus francophile des écrivains britanniques qui nous a quitté en 1994. Quand se lève le brouillard rouge est son ultime roman, republié aux éditions Rivages. Gust sort de prison. Pour tenter de se refaire la cerise rapidement, il accepte un dernier casse: mettre la main sur deux mille passeports britanniques qui valent son pesant d'or sur le marché noir. Alors que les cadavres s'empilent autour de lui, Gust voit son destin se lier, avec celui d'ex-agents du KGB, de la pègre londonienne, de son ex-amoureuse Petal, les services secret britanniques ou d'un étrange policier, qu'il a, pour fâcheuse habitude de rencontrer dans des bars mal famés. Oubliez l'internet ou le cellulaire dans ce Londres des années 90! Robin Cook n'a pas son pareil pour décrire la descente aux enfers d'un homme, qui y vit déjà. Même si la saleté des bas fonds de la capitale vous rebute, sachez que l'auteur rive son clou à une société Thatcherienne qu'il déteste. Gust lance son avis de défaite cinglant: Je suis cette Angleterre, c'est moi. Et ça fait mal. Robin Cook un écrivain à lire d'urgence. Extrait: «Gust sortit dans l'après-midi ; il pleuvait à verse. Les rares SDF de Frith Street restaient accroupis sous les entrées d'immeubles, le plus loin possible de la rue, immobiles sous leurs couvertures, leurs sacs en plastique près de leurs genoux, le regard fixé sur une autre planète ; des cadres pressés pataugeaient à la recherche d'un taxi, le Standard sur la tête. mais Gust ne faisait pas attention à la pluie. Il avait besoin de réfléchir, et cela lui était plus facile à l'extérieur que dans l'appartement, où tout lui rappelait Petal. Elle incarnait un certain aspect de la situation où il se trouvait ; mais il y avait un autre aspect - Manny, Sladen - qu'il ne parvenait pas à cerner. S'il voulait s'en sortir indemne, il allait devoir comprendre ce qui lui arrivait, et surtout ne pas se tromper dans ses conclusions.»

Mission encre noire Tome 23 Chapitre 285 Front criminel, Une histoire du polar américain de 1919 à nos jours de Benoît Tadié paru en 2018 aux éditions PUF. Le polar est un genre majeur de la littérature aujourd'hui. Un livre sur quatre est un polar. Le genre s'est très vite popularisé aux États-unis, en réaction à l'avènement d'une société industrielle qui édifie sa fortune sur un état d'esprit très éloigné de ses pères fondateurs.  Le polar c'est le «soleil noir» qui se lève sur ce monde. Benoît Tadié s'immerge dans cet univers de violence sociale pour nous raconter son histoire du polar américain. L'ouvrage regorge de références inédites, d'écrivain-e-s à redécouvrir, l'auteur nous ouvre la voie vers les arcanes d'une littérature subversive et innovatrice. Dashiell Hammett, Chester Himes, Raymond Chandler, Jim Thompson êtes-vous là ? Nous recevons Benoît Tadié à Mission encre noire pour faire tourner les tables et parler aux fantômes légendaires du polar américain. Extrait: «Ce qui se perd dans ce jeu de métamorphoses, c'est l'essence de l'individu et des choses, leur identité, leur intégrité, dans un univers où l'apparence prend le pas sur l'essence, où le character disparaît au profit d'une personality interchangeable, qu'on peut acheter ou fabriquer de toutes pièces. Le discours intérieur de Philip Marlowe, qui déconstruit la machine à falsifier de Hollywood, est lui-même une manifestation de ce character: sa résistance à une civilisation mensongère est le vrai sujet des récits de Chandler.» La mort du petit coeur de Daniel Woodrell paru en 2018 aux éditions Rivages/Noir. Pour reprendre la classification de Benoît Tadié, ce roman culte américain, republié chez Rivages, est à classer entre le Tobacco road façon Erskin Caldwell et la chronique noire de James Ellroy. La violence sociale qui s'exprime dans ce Missouri rural est l'image d'une Amérique abîmée dans ses rêves de grandeur. Shug traverse son adolescence sur un fil. Son père/beau-père, Red Akins est un truand à la petite semaine. Il sort de prison. Avec Basil Powney, les deux lascars parachèvent l'éducation de Shuggy à force de braquages minables pour trouver de la drogue ou de l'alcool. ce n'est pas la famille improbable Akins qui y changera grand-chose. Sa mère le pourra-t-elle, l'envoûtante Glenda ? Personnage fantastique et symbolique de cette Amérique déchue, le couple Glenda/Shuggy incarne le crépuscule de la famille idéale américaine. Le rêve américain est mort, le saviez-vous ? oserez-vous y croire ? Attention, Denis Lehane vous aura prévenu: « Je ne connais personne qui ait lu ce roman et qui n'ait été saisi et transformé par lui.» Extrait: «Nous n'avons jamais eu peur, Glenda et moi, de vivre à proximité du champ des morts de notre bourgade, vu que nous ne leur avons jamais fait de crasses. C'était l'idée générale, tout du moins. Et Glenda l,a ressassée je ne sais combien de fois, aussi loin que je me rappelle. Elle le répétait particulièrement fréquemment quand j'étais petit, à l'heure où j'allais me coucher: « Ils sont tous sous terre, chéri, et ils n'ont rien contre toi.» Toutes nos fenêtres, y compris celle qui se trouvait près de mon lit, donnaient sur ces tombes. Il me semble que toutes les aubes et tous les crépuscules que j'ai passé à les contempler depuis cette fenêtre me poussaient de plus en plus à la solitude et à la malfaisance. Il y avait aussi des chênes majestueux et des pins sentinelles dans ce cimetière, et des écureuils cavalaient librement au milieu des trépassés, mais ce sont ces funèbres rangées de tombes qui impriment le plus durablement leur marque dans votre mémoire. C'est très exactement ce qu'on voit en les regardant: les morts d'hier et d'avant hier, les morts d'aujourd'hui, et tous ceux qui sont morts dans l'intervalle.» Quand se lève le brouillard rouge de Robin Cook paru en 2018 aux éditions Rivages/Noir. Cette fois-ci nous sommes en Angleterre, avec Robin Cook, le plus francophile des écrivains britanniques qui nous a quitté en 1994. Quand se lève le brouillard rouge est son ultime roman, republié aux éditions Rivages. Gust sort de prison. Pour tenter de se refaire la cerise rapidement, il accepte un dernier casse: mettre la main sur deux mille passeports britanniques qui valent son pesant d'or sur le marché noir. Alors que les cadavres s'empilent autour de lui, Gust voit son destin se lier, avec celui d'ex-agents du KGB, de la pègre londonienne, de son ex-amoureuse Petal, les services secret britanniques ou d'un étrange policier, qu'il a, pour fâcheuse habitude de rencontrer dans des bars mal famés. Oubliez l'internet ou le cellulaire dans ce Londres des années 90! Robin Cook n'a pas son pareil pour décrire la descente aux enfers d'un homme, qui y vit déjà. Même si la saleté des bas fonds de la capitale vous rebute, sachez que l'auteur rive son clou à une société Thatcherienne qu'il déteste. Gust lance son avis de défaite cinglant: Je suis cette Angleterre, c'est moi. Et ça fait mal. Robin Cook un écrivain à lire d'urgence. Extrait: «Gust sortit dans l'après-midi ; il pleuvait à verse. Les rares SDF de Frith Street restaient accroupis sous les entrées d'immeubles, le plus loin possible de la rue, immobiles sous leurs couvertures, leurs sacs en plastique près de leurs genoux, le regard fixé sur une autre planète ; des cadres pressés pataugeaient à la recherche d'un taxi, le Standard sur la tête. mais Gust ne faisait pas attention à la pluie. Il avait besoin de réfléchir, et cela lui était plus facile à l'extérieur que dans l'appartement, où tout lui rappelait Petal. Elle incarnait un certain aspect de la situation où il se trouvait ; mais il y avait un autre aspect - Manny, Sladen - qu'il ne parvenait pas à cerner. S'il voulait s'en sortir indemne, il allait devoir comprendre ce qui lui arrivait, et surtout ne pas se tromper dans ses conclusions.»

Why love history? Does history matter?   Welcome to rememberinghistory.com where we are remembering history and we’re making it.   Hi, I’m Robin the host and one of many history lovers at this great and groundbreaking podcast show.  Right now, you are at an exciting place to remember African American history, a peaceful place to reflect on the African American experience and a bold place to keep MAKING history every single day.     I’m so glad that you’re here so we can share in this journey together. History should be a shared experience. So, let’s get started.   Hello, habari gani, nangadef! As promised, I will explain these greeting a bit later in the show.     People often ask me why I love history. They say “it’s so boring!” “it’s pointless” and my personal point of debate: “it’s all lies anyway.”   Hmmm…I would love to say that none of those comments are true.  But let me just say that they’re not completely wrong either.  Or at least they don’t have to be.   In elementary and high school, I actually hated history.  Yes, it’s true that I was not always the history lover that I am today.  But, when I was younger I found history to be boring and I definitely didn’t get the point of learning about dead people and past events.   Then I discovered something: History isn’t about past events and dead people. It’s about events and people. As one of my favorite historians put it, “History is not about the past. No one ever lived in the past. They lived in the present. The difference is that it was THEIR present. Not ours. They were caught up in the living moment exactly as we are today. And with no more certainty of how things will turn out we have.”   History does talk about past events—but all (or the vast majority) of those events were people driven. They didn’t happen in isolation. People made them happen.  And those people are just like us today: Making events happen today.   So, why do people think that history is boring, pointless, or untrue? It’s mostly in the presentation. History is usually taught as a series or names, dates and death counts. That’s a pity because history is so much more. It is a story, it’s our story.    That’s why I love history; I have always been captivated by a good mystery, moved by a tender love story, excited by a dramatic adventure story or inspired by a story of victory or triumph.   Judging by the number of people at the movies or people browsing bookstores, I’m not the only one who loves a good story.   So ANYONE with a reasonable amount of curiosity or interest in people can love history. There is no end to the amazing stories. And history being made today and every day.   About history being a bunch of lies…well people can take a bit of “creative license” when retelling a story. But they can and do cross the line. There are definitely untruths in history and that is especially relevant for people of color. African American history has been retold in ways that, at best, diminish our contributions and, at worse, eliminate not only our contributions but also our very presence and significance in those stories. And that’s the very reason why we should learn history—so we can tell the truth. That’s the very purpose of rememberinghistory.com—to tell the truth of African American history, including the contributions, the victories, the defeats, the challenges, the struggles—whole range of the human experience.   On that note, let’s get started with the history or…the stories.   Let’s start with a few birthdays.       May 9 is the shared birthday of two history makers—white men, actually—who played an important role in African American history.  We will talk about one today and the other will be a surprise for next week’s show. You might think it strange to open today’s show by honoring a white person.  This is a show about African American history, after all. Well, this man’s work has been very influential in the African American community and actually on a global scale. I’m talking about the German philosopher, economist, historian, political theorist, sociologist, journalist and revolutionary socialist. I’m talking about Karl Marx who was born on May 9, 1818.   What importance does he have in African American history? Karl Marx believed in a classless, stateless egalitarian society, stating in his landmark book, The Communist Manifesto “The history of all hitherto existing society is the history of class struggles.” The Communist Party was the only political movement on the left in the late 1920s and 1930s to place racial justice and equality at the top of its agenda. In fact, As the Great Depression unfolded, the Communists launched intensive campaigns against lynching, evictions, whites-only trade unions, job discrimination in jobs and police brutality.    In the 1960s and 70s, the Communist Party in the US fought for civil rights, protested the war in Vietnam and demanded equal rights for African Americans and women. This was attractive to many Africans and African Americans. Many African and African American activists and leaders have also focused on fighting economic inequality as a primary cause.  And many Black civil rights activists, writers and scholars received support from the Communist party and joined the party though some eventually left it. Paul Robeson. Richard Wright. WEB Dubois. Langston Hughes. Ralph Ellison. Chester Himes.  I’m not trying to convince anyone to adopt Communism, but I do encourage having an open mind and learning the history. That’s what we’re here for.   If you questioned the relevance of Karl Marx in African American history, you definitely will NOT question the significance of the next person.  He was born on May 19, 1925.  Do you know who I’m talking about now? Of course, you do. Malcolm X or El-hajj Malik el-Shabazz as he was known at the time of his assassination at the age of 39. Malcolm (as I remember him) was a complex person who continued to evolve in extraordinary ways throughout his short life.   As a dynamic, charismatic and highly intelligent speaker and activist throughout the 1960s, Malcolm changed the way that Black people thought of themselves and their community. He started as a minister and national spokesman with the Nation of Islam. In 1964, after a life-altering pilgrimage to Mecca, he returned to the United States to found the Organization of Afro-American Unity. This Pan-Africanist organization was designedto fight for the human rights of African Americans. Malcolm was sadly assassinated in 1965. He is most remembered as fighting for the rights of African Americans “by any means necessary” but the quote that I think represents him more is when he said, “A race of people is like an individual man; until it uses its own talent, takes pride in its own history, expresses its own culture, affirms its own selfhood, it can never fulfill itself.” Happy birthday, Brother Malcolm!   May, 2018 marks the opening of a new museum.  Museums are a great way to learn history and I just love how museums are becoming more interactive and engaging.  No longer are they places to just see pictures hanging on a wall—no disrespect to pictures by the way—but museums are places to become immersed in period of time, an issue, an event or even a person’s life.  The museum that I’m thinking about does all of those things and more.  What is it? Here’s a hint: It is in Montgomery, Alabama and it showcases (rather, honors) more than 4,000 people.  Give that some thought and stay tuned for next week’s show when I tell you all about this amazing new museum.       Here’s an important date: May 17, 1954.     Brown v. Board of Education was decided by the United States Supreme Court on May 17, 1954.  This was one of the most important cases EVER decided by the Supreme Court. It declared that segregation in public schools violated the Equal Protection Clause of the 14thAmendment of the United States Constitution. Argued by the renowned 46-year old civil rights attorney, Thurgood Marshall, who would successfully win 29 out of 32 cases that he would argue before the nation’s highest court.  Many people were excited about the Court’s decision to desegregate the public schools “with all deliberate speed” (that comes directly from the Court’s decision) but Southerners fought against integration in many ways. Some counties closed down schools rather than be forced to integrate. Others created different criteria to prevent integration. Some states even created all-white academies—some of them still exist today. The Pupil Placement Law segregated students by subjective standards like family background or special ability. Unfortunately, the Supreme Court  upheld these Pupil Placement Laws. Dr. Martin Luther King said that the Pupil Placement Law was almost as far-reaching in limiting integration as the Brown decision was in limiting segregation. Yet I gotta say that the Court’s decision was absolutely an absolute victory and a bold step in the fight for civil rights. Still segregation remained entrenched. Two years after the Brown decision, no Black child had attended school with a white child in 8 of the 11 former Confederate states.  Ten years after the decision, only 2.3 percent of Black children were attending school with white children. And today the resegregation of gripping school districts around the country. You can find more information on this topic at the rememberinghistory.com website.  You’ll see another example of how history does not stay in the past.     Now, we will end this section by remembering James Cone, the eminent religious scholar, philosopher and activist. Dr. Cone died on April 28, 2018.  James Cone is widely regarded as one of the most influential theologians in the United States. He wrote many landmark books including Black Theology & Black Power, A Black Theology of Liberation, God of the Oppressed, The Spirituals & The Blues and The Cross and the Lynching Tree. His books and speeches questioned the traditional teachings of the Bible, and made Christianity understandable and relevant to oppressed people.  He is memorably quoted as saying, “I wanted to speak on behalf of the voiceless black masses in the name of Jesus whose gospel I believed had been greatly distorted by the preaching and theology of white churches.” Dr. Cone will be greatly missed but also greatly remembered. In fact, I’m gonna remember his teaching in next week’s podcast show. So, I hope you’ll come back for the next show.   But no. we’re not done with this show yet!  Last week, I greeted you with Habari gani  and Nangadef.   Some Rememberinghistory.com  listeners will remember the Swahili greeting Habarigani from the December show when we celebrated Kwanzaa.  But what is Nangadef?  That is a greeting that I recently learned when I visited Senegal. Nangadef is a greeting in the Wolof language that asks “how are you?”  The traditional response is to say “Mangifi” meaning I’m fine. Why do I bring this up? I’m reflecting on my trip or rather, trips, to Senegal.  Travelling is a great way to learn about another culture, language and history. There was lots of all of this in Senegal!  One of the main reasons that I went was to visit the island of Goree.  Goree was an important part of the TransAtlantic slave (or, rather, people) trade for more than 400 years. This is where many people where held—after they had been captured—to be transported to Europe and the Americas where they would be enslaved. More than 20 million people passed through the ominous “door of no return” for the three-month journey that ultimately ended with their enslavement in America, Brazil, the Caribbean, England or another country. Twenty million people!  And, I learned that another 6 million people died either on the island of Goree or on the journey across the ocean.  I saw the small, dark rooms where the men, women and children (yes, men, women and children—not slaves!) were held for months awaiting the terrible journey. The rooms were overcrowded, small, dark and damp. People were let out of the room only one time per day to use the bathroom. I also saw the chains and leg-cuffs that were put on the people and the punishment room. It was chilling. I stood at the Door of No Return where people left the island and boarded the ships headed to enslavement in different parts of the world. Strangely, the island itself was beautiful: the water was clear and blue, the ocean air was crisp and fresh and the sun was shining. But this was the last view that (at least) 20 million people saw before going below deck and emerging in a new country to be sold into slavery.  Goree is a UNESCO World Heritage Site and I highly recommend visiting this important place. While I have read a lot about the transatlantic trade in people and the Isle de Goree specifically, I felt an emotional response when I actually visited the island. And I learned so much. So, I’m reflecting on the importance of travel as a way of learning and experiencing and FEELING history. Of course, there is a lot more to Senegal than the Island of Goree. And my guide took me to great places like the cemeteries where both Muslims and Christians are buried, bustling markets where local people are selling their products—not tourist products—but products for every day living like groundnuts, groundnut oil, shea butter, clothes, fresh meats and lots more. We passed on the animal reserves—I’ve got nothing against animals—but we had decided instead to visit the University of Dakar, which has 60,000 students. We weren’t able to sit in on a class but we visited some libraries, bookstores and an incredible exhibit by Cheikh Anta Diop who was a Senegalese historian, anthropologist, physicist, and politician. Dr. Diop studied the human race's origins and pre-colonial African culture. I’ve read his book, Precolonial Black Africa and The African Origin of Civilisation.  Those are both excellent perspective-changing books. And you can find them on the rememberinghistory.com website.     Finally, we visited Layen Mausoleum, which is dedicated to Saidi Limamou Layen, the founder of the Layen Muslim brotherhood. It is magnificent and remarkable for many reasons. Besides all of the gold and intricate designs on the walls and floors, women had to be dressed completely in white from head (including a white head covering) to foot. People were there to help you dress properly. When I saw myself dressed in that way, I was shocked. Not in a bad way though. I had never seen myself in this manner and it was mind-expanding.  No, I don’t always want to dress in that manner. But I realized that travelling can help you to see yourself and the world in a different way. And I was grateful for the experience.  So, my reflection for this week is that travelling can be educational AND fun.  And it is a great way to learn history. Try to leave the resorts and the beach, get off the bus, go for a walk, ask questions and be open-minded. Just take it all in.   Music It’s story time! Storytelling is a great part of the African American experience, given to us from African cultural traditions. I am pleased to present this story (or fable) written by master storyteller, Eshu. The theme is purpose. Let’s begin with taking a few deep, cleansing breaths to help us focus on this story and its important lessons. Take a moment to get comfortable. Now, breathe in through your nose then out through your mouth. Let’s begin. This story is called Anansi and his Sons. Written by master storyteller, Eshu Bumpus who has generously allowed us to use these stories. You can find more of his stories at folktales.net. Anansi and his Sons When Anansi's first son was born and Anansi and his wife, Aso were ready to name the child, the baby spoke up and said, "I have brought my own name with me. It is See Trouble." Their second son also announced his name in this way. He was Road Builder. Each of his six sons in turn announced their names in this way. There was River Drinker, Game Skinner, Stone Thrower and Cushion. Once, Anansi had to go on a long journey. On his trip, he found a big, bright, shiny ball. He was bringing it home, when he fell into the lake and was swallowed by a big fish. Anansi decided right then that he would give the bright shiny object to whoever rescued him. As time passed, and Anansi did not return home, his family became worried. See Trouble looked ahead to see Anansi inside the big fish. He told his brothers. Right away, Road Builder cleared a path through the forest for his brothers to follow. When they got to the lake, it was the thirsty brother's turn. River Drinker drank up all the water in the lake. There was the big fish at the bottom. Game skinner went right to work. He cut open that fish to let Anansi out. Anansi was still holding that bright, shiny object he had found. Suddenly a giant bird flew down and grabbed Anansi. It took him way up into the sky. Stone Thrower grabbed a rock and threw it. He hit the bird just right to make it let go of Anansi. Down, down Anansi fell, but he didn't get hurt because Cushion put himself in the way. Anansi landed softly. Anansi wanted to give the bright, shiny object to the son who had rescued him, but he couldn't decide who had done the most to help him. He gave the bright, shiny thing to Nyame, who put it up in the sky until someone could figure out which son deserves it the most. It is still there in the sky. You can see it tonight. The End. I hope that you enjoyed this story. It was short but powerful and enlightening. This story is about unity (or Umoja in the Swahii language) and how we can all contribute our skills, thoughts and feelings to help each other. Separately, we can be lost. Together, we can not just survive but thrive and grow. By the way, if you DID enjoy that story and discovered that history is not boring or pointless and that it can actually be interesting and inspirational, you might like to learn more—there IS lots more!Rememberinghistory.com is committed to bringing this information to you in a fun, educational and memorable way. I’m talking now about our Black History Kits. These kits are designed to teach history through videos, games (like crossword puzzles or word searches), fun quizzes, recipes and, yes, books, too.  These exciting kits will guide you step by step through learning different parts of African American history (like the slavery and reconstruction periods, Black power and activism and great achievements) as well as experiencing Black culture through making delicious recipes, listening to great music and reading African folktales.  Learning history should be fun. And these Black history kits ARE fun, educational and unforgettable.  There is lots to choose from for adults, kids and families.  I hope that you’ll look at them on the rememberinghistory.com website. And mention this podcast for a free gift! Now it’s time to come to wind things down. Let’s end by taking a few deep breaths to help you absorb and relax. In through your nose then out through your mouth. Again, in through your nose then out through your mouth. Last time, and let’s make this a big inhalation through your nose, then slowly release your breath through your mouth. That’s great. If you like, you can stay for a 2-minute guided meditation to help you relax. Learning history is fun and interesting and important. But it can also cause tension or stress and bring about difficult emotions. So, I welcome you to stay for the relaxation meditation that will begin immediately after this show. No pressure. And, if you don’t have time right now, you can always find this short meditation and other meditations on the rememberinghistory.com website. Thank you for joining us today at rememberinghistory.com where we are remembering history AND we’re making it. Every day! Bye for now. *****MUSIC*****    

Welcome to the lost episode. Plagued by technical problems, we are happy to finally be able to bring you episode 6. "The Real Cool Killers" by Chester Himes. Himes was a revolutionary writer and thinker in crime fiction and was an influential contributor to 20th Century African-American fiction. His work deserves to be better known.   Books Reviewed for 5 Round Burst: "The Moving Target" by Ross Macdonald "Nobody Move" by Denis Johnson "Cop Hater" by Ed McBain "Send My Love and a Molotov Cocktail! Stories of Crime, Love and Rebellion" Edited by Gary Phillips "How to Steal the Mona Lisa: and Six Other World-Famous Treasures" by Taylor Baymouth

A talk with writer, Shawn Aldridge. We discuss his love of reading, Chester Himes, Terry Pratchett, absurdism, and animal facts. We also talk about the changing ways of pitching comic ideas, and lament the demise of Zuda. I didn't edit the pronunciations of Patricia Mulvihill, sorry.

As our heroes anticipate Halloween and an exciting new addition to the Well Job family, they discuss their experiences with gender roles in parenting and household responsibilities 4:00 Some creative Halloween costumes in the mix this year. Chester Himes? 6:25 Do you leave a note and a bowl of candy out when you leave your house on Halloween? Fun update: after this episode was recorded, Erica's candy AND bowl got stolen. >:( #allittakesisone 10:06 Eating season. If we're gonna go out from October to December, we're gonna go out with a big bowl of Twix, some eggnog, or a Turkey in our mouths. 14:19 Gender roles: how times have changed. Well Job grants Troy very minimal paternity leave. Stay at home mothers through the years.... 30:28 What does it mean to be "soft?" Is aggression often mistaken for confidence and vice versa? Is there such a thing as "wearing the pants" in a marriage in 2018?

How Leaving the United States made me a better American   Hi and welcome to the July issue of Making History Today, the newsletter for people who want to change the world. I’m Robin, the editor of this great and groundbreaking newsletter. I’m so happy that you are receiving Making History Today and listening to this podcast.   As the editor in chief, I have the privilege every month of writing a few words about a current event or an important issue that I think will be helpful, interesting or even intriguing to the Making History Today community. This month, I made an interesting observation about myself. It’s something that I notice every year. Mostly in July. You see every July, I return to the United States for a vacation. That’s when it happens. I notice the same thing. I notice a change in myself and in the United States.   But let me back up a bit and tell you the whole story. It’s not long but it’s important because then you’ll understand that when I left the United States, I actually became a better American. And that’s the subject of my editor’s note for the July issue of Making History Today.   In 1994, I moved to the Netherlands. It was not supposed to be a permanent move to leave the United States. I was going to study at a Dutch University for my Masters degree in European Law. I was planning a year-long adventure of living abroad, learning another language and travelling around Europe. My program was scheduled to end in May 1995 and then I would return to my life and law practice in California.   I DID complete my program in May of 1995.   But I didn’t return to live in the United States.   What happened?   A lot.   I had developed a different worldview. And my view of America had definitely changed.   Let me begin by saying that I love the United States. I always have. I can still get misty-eyed when reading the Declaration of Independence. I read the U.S. Constitution for the sheer joy of it. I love the cultural diversity of the country, the can-do attitude and the everything-is-possible belief. I could make a long list of the great things in and about the United States. But what I experienced in Europe during that study abroad year was a game changer for me.   I met so many new and interesting people from around the world—each of us defined PRIMARILY but NOT SOLELY by our nationality. But as an African American woman, I never thought of myself as fully, mainstream American but more as “on the fringes” American.   Yet when I spoke with people from Spain, Poland or South Africa, I realized how fully American that I really was or am. At first, this was a shocking realization. Then it became a teachable moment, an epiphany—it became my opportunity to grow and learn how other people live, think and experience life. That’s when I discovered how fully American that I really am. And—perhaps more importantly—that Americans are not living as fully as we can.   What do I mean?   I mean that Americans (myself included) accept certain things as “acceptable” or “just how things are”. Or that this is the best way to do something. Or we simply can’t imagine something different. And these are things that we should NEVER accept.   Here’s an example: I became sick while I was in the Netherlands. I was a student and didn’t have much money and no Dutch health insurance. I needed to spend the night in the hospital and have tests. I was worried that I couldn’t afford all of that. The hospital never even asked to see my insurance information. (In contrast, the hospitals and pharmacies that I have visited in the United States spend lots of time asking about insurance, deductibles, exemptions and a host of other financial information that has NOTHING to do with medical treatment!) The Dutch hospital was clearly more interested in my treatment rather than my ability to pay. Everyone spoke English. And I was treated with professionalism and kindness.   Months later, I was sent a bill that was less than $500, (and this was for an overnight stay in the hospital and a complicated test). I sent the bill to my American health insurance provider who refused to pay any part of it.)   This was not the only experience that I have had with the medical systems in different European countries. They all have provided excellent service at a fraction of the costs of the American system. Most non-Americans simply don’t understand how the American system can cost so much money.   The same is true for the educational system, particularly at the university or graduate school level. I paid about $1,000 for my post-graduate program at a fantastic law school in the Netherlands. This is a fraction of the costs of American schools.   But everything is not just about costs. It is much more.       I’ve witnessed what people expect from their government such as transparency and accountability. Real debate and progressive discussion happens on issues like GMOs, stem cell research, gun control, race and ethnicity, women’s rights, abortion, LGBTQ rights and same sex marriage. Yes, there are far-right and far-left parties but they aren’t dominating the mainstream (even though they might want to do so) and they’re not controlling politicians to make or support laws that serve only the privileged and powerful few. Lobbying and political action is regulated and transparent. Pharmaceuticals are regulated. Even television is different. Whenever I visit the United States, I become acutely aware that advertising is dominated by food and pharmaceuticals. Not the same in the various European countries that I have lived in.   Of course, European countries have their problems and issues. Having lived in Sweden, England, Belgium and the Netherlands, I have been frustrated sometimes with the amount of regulation (mostly the paperwork!) and the higher taxes. But I have been more impressed with the access to health care, excellent and affordable schools and the civil liberties.   Europeans ask me why so many people are imprisoned in the United States, why so many people are allowed to have guns, how people can afford the health care and why Americans have such limited paid medical, maternity and family leave. They ask me why stem-cell research is so controversial, why abortion is such a heated issue, why there is so much gun violence and why American universities are so expensive.   I don’t have answers to these questions except to say that Americans view health care, affordable education or employment security as privileges. Europeans view them as rights. Americans accept the death penalty, life sentences and mass incarceration as a standard response to crime. Most European countries don’t have the death penalty or the high incarceration rate of the United States. Yet European countries have lower crime rates than the United States. You know, the United States houses 22 percent of prisoners around the world though it makes up less than 5 percent of the world’s population. Today I find that shocking. When I lived in the United States, it seemed “normal.”   Yet I do consider myself more American than ever before. And my increased “Americanism” is leading me to demand more from my government than ever before. I want America to be that “more perfect union” that it can be. This could be what happened other African Americans travelled or even lived abroad. People like James Baldwin, Richard Wright, Chester Himes and Josephine Baker moved to Europe and experienced a different world from the oppressive racism, random violence and segregation in America where they were born. WEB Dubois went to live in Ghana and learned the real greatness and grandeur of African history and culture in contrast to the “dark continent” view of Africa that he learned in school. And Paul Robeson studied in England and visited the Soviet Union. He said in Moscow, "Here I am not a Negro but a human being for the first time in my life, I walk in full human dignity."   This was also true for many African American soldiers who fought in the first and second world wars experienced better treatment, higher social status and more rights and liberties while living abroad. And yes it was very difficult to return to the racist society in America who was not grateful for their service and sacrifice but was determined to strip them of their rights and put them back on the bottom of the social order.       Yet many African Americans did return to their birth country. And, like the Black veterans, they were different people. Having seen how the world can really be, they returned to demand that America live up to its own rules and standards—as stated in the constitution—and to create a better country for all of its people.   I also needed to leave my country before I understood that things could be different. They should be different. I needed that view from the outside. Moving abroad gave me that awareness.   I remember James Baldwin once said,   “I love America more than any other country in the world and, exactly for this reason, I insist on the right to criticize her perpetually.”   I do too.   And I feel that America can become a better place AND I can be a better American. That means holding American society and government to higher standards.   Americans CAN have affordable health care, employment security, maternity and paternity leave, safer and less violent communities, programs that support the more vulnerable and less abled segments of society, racial equality and justice, a clean environment, a strong infrastructure, social and economic fairness and meaningful political participation.   But we will have to work for it. Demand it. And sacrifice for it.   Change at the most fundamental level will require airing out dirty laundry for the world to see. But I’ve learned that people already see our dirty clothes hanging in the wind. And I am now more aware than ever that the emperor is not wearing any clothes.   But I’m also ready to wash America’s dirty laundry and point out the emperor’s nakedness.   Awareness, for me, is the first step towards change. I feel that makes me a better American: awareness and a willingness to work for change. Incidentally, that is one of the reasons why this Making History Today newsletter is so important: it’s a vehicle to channel the activist feelings and drive to change America and, actually, change the world.     I’m gonna wrap this up with another quote from James Baldwin:   Not everything that is faced can be changed, but nothing can be changed until it is faced.   Yes, living abroad has helped me to see the problems and develop the strength to face them. I want America to become that more perfect union that it can be—and I’m prepared to work for it.   So, am I saying that the only way to become a better American is to leave it? Definitely not. There are lots of ways. In my next Editorial note of Making History Today, I’m gonna discuss a few other ways—some require big changes but others are small changes. I’ll present a few and I would like to hear your journeys too. You know, we can’t change our country or our world until we can change ourselves. See you in November!      

Author Angela James shares some history on crime novelist Chester Himes

Author Angela James shares some history on crime novelist Chester Himes

Join us as we bring back our compelling author series..."Literary Journey."   On this episode we will be diving into the life and literary works of detective novelist "Chester Himes."   Chester is a Jefferson City MO native who moved to Cleveland OH. He eventually found his self locked up behind bars for an armed robbery.  It was then that he found his love for the written word.     While in prison he had several stories published in publications such as "Esquire."   After that, he knew that's what he wanted to do and he set out to chase the dream.   His most famous book is titled, "If He Hollers Let Him Go" as well as a detective series that he wrote.   Tune in as we discuss the life and lit works of author and prize winner "Chester Himes."   Stay tuned and kee it locked.

Dans la bande Stone Throw, je voudrais le petit de la famille, Oh no! Son vrai nom est Michaël Jackson, il est le fils du chanteur de r'n'b Otis Jackson et le frère de Madlib et il reste le meilleur espoir déçu du clan. Meilleur compositeur/producteur que MC, il a produit pléthores de disques entre génie et ennui qui font qu'on ne sait parfois plus si on l'aime ou si on l'abhorre. Meilleur en collaboration que quand on le laisse jouer tout seul, comme sur ce morceau avec le soul boy Aloe Blacc, autre pillier maison. La caractéristique principale de l'album dont est extrait ce morceau est d'être exclusivement basé sur des samples de morceaux composés par Gal MacDermot, le monsieur derrière la comédie musicale Hair et la b.o. du film de blackploitation Cotton comes to Harlem (une adaptation de Chester Himes). Le vieil homme accueille les bras ouverts (et parfois même chez lui) les producteurs hiphop afin qu'ils fouillent dans sa discographie pour concocter les samples à la base de leurs hits ce qui a contribué à faire de ses disques des objets recherchés par les geeks de funk et de jazz.

An interview with J. Michael Shell. Adam Gauntlett discusses the crime fiction of Chester Himes. And our main fiction is War, by Sandra Jensen. Apart from Religion, school was torture. Lines of white chalk scraping into my head. I sat at the back where on good days I could see Hillbrow Tower out the window [...]

The Indignant Generation is the first narrative history of the neglected but essential period of African American literature between the Harlem Renaissance and the civil rights era. Writers such as Richard Wright, Gwendolyn Brooks, Ralph Ellison, Lorraine Hansberry, and James Baldwin rose to prominence during this period, but little attention has been paid to the political and artistic milieu in which they produced their greatest works.Looking at the tumultuous decades surrounding World War II, Jackson restores the "indignant" quality to a generation of African American writers shaped by Jim Crow segregation, the great Depression, the growth of American communism, and an international wave of decolonization. He also reveals how artistic collectives in New York, Chicago, and Washington fostered a sense of destiny and belonging among diverse and disenchanted peoples.Fully exploring the cadre of key African American writers who triumphed in spite of segregation, The Indignant Generation paints a vivid portrait of American intellectual and artistic life in the mid-twentieth century.Lawrence P. Jackson is professor of English and African American studies at Emory University. He is the author of Ralph Ellison: Emergence of Genius and a forthcoming biography of Chester Himes. He is a graduate of Wesleyan University and holds graduate degrees from Ohio State University and Stanford University.Recorded On: Tuesday, January 25, 2011

Présents à ce vingt-cinquième podcast enregistré dans la crypte des Editions Baleine et animé par Jean-Bernard Pouy : Clémentine Thiébault, Sébastien Gendron, Marc Villard, et Francis Mizio. Un podcast particulièrement foutraque (comme vous le constaterez) qui est le dernier de la saison (reprise en septembre prochain). Mais on a tenté, outre deux lectures (Marc Villard en hommage à Chester Himes et Jean-Bernard Pouy à propos de Philippe Garnier) de nous exprimer sur :- Il risque de pleuvoir, de Isabelle Heidsick - Coll. Fictions et Cie, Editions du Seuil- ABC Dick, de Ariel Kirou, aux Editions Incultes/Essais- La 8e aventure de Boro, par Franck et Vautrin ("La dame de Jérusalem") et une réédition du Hotu de Simonin (Ed. La Manufacture de livres)- La vieille qui ne voulait pas mourir avant de l'avoir refait, de Margot D. Marguerite (Ed. La Manufacture de livres).- Un aparté sur le coffret anthologie de 4 DVD de l'émission de télévision des années 80, "Cinéma-Cinémas", de Claude Ventura)Enregistré et monté par Francis Mizio, ce podcast est d'une durée de 29 min 55 sec et d'un poids de 41,2 Mo. La musique générique du début est extraite de Bajati, de l'album Deuxième jour, du groupe Interzone.Plusieurs façons pour l'écouter :>1- En cliquant sur ce lien vous pourrez écouter et également télécharger le Mp3 (clic droit sur le lien puis : enregistrer la cible du lien sous).>2- Ce podcast est téléchargeable via Itunes où il est référencé : cliquez (pour vous abonner automatiquement) sur la petite photographie dans la colonne de droite.>3- En cliquant sur le lecteur ci-dessous vous écouterez le podcast directement depuis cette page :Prochain podcast : début septembre (rendez-vous ici à 18h en maillot pour montrer la marque).Pour toutes réactions sur le contenu, informations, communiqués, suggestions, services de presse, etc. : écrire à leshabitsnoirs@free.fr Pour toute question technique : écrire à leshabitsnoirs@gmail.com

Introducing other authors whose works will be read during the performances, Gee explains their relationship to Wright. Gee references Richard Wright's, Black Boy and Native Son, James Baldwin's Notes of a Native Son, Chester Himes an author, Ollie Harrington, a cartoonist, and Harrington's book of essays titled Why I Left America.Part 2--Richard Wright: Audience and MessagePart 2 - Very Close to CD-Quality MPEG-4 (Broadband) (9.8M)Part 1 - High Quality MPEG-4 (ISDN) (5M)Part 1 - Highest Quality MPEG-4 available for Dial_up (3.1M)