Podcast appearances and mentions of george schuyler

There's a fine line between radical and conservative. Well, that was the case for writer George Schuyler and activist Eldridge Cleaver, who went rogue and turned right-wing in the 1900s. Katie and Yves get into their political pump fakes.See omnystudio.com/listener for privacy information.

Um livro de fotografia sobre a campeã Patrícia Mamona dá a ver a arte fotográfica de José Pedro Cortes; Voltaire escreveu um “Tratado sobre a tolerância” talvez mais citado do que lido; o escritor negro George Schuyler criou uma distopia que põe em causa as noções de identidade racial em “Negro nunca mais”; e Rui Cardoso Martins reuniu os contos que escreveu nos últimos vinte anos em “Passagem pelo vazio e outros contos” e publicou-os numa pequena editora alentejana, a Filigrana.See omnystudio.com/listener for privacy information.

 George Schuyler discusses how the Black Panthers get government funding at the 1972 Rally for God Family and Country in Boston, MA July 1972

On this week's episode of Currently Reading, Meredith and Kaytee are discussing: Bookish Moments: broken reading and reading companions Current Reads: some brand new books and a surprising classic Deep Dive: our between-book processes The Fountain: we visit our perfect fountain to make wishes about our reading lives As per usual, time-stamped show notes are below with references to every book and resource we mentioned in this episode. If you'd like to listen first and not spoil the surprise, don't scroll down!  We are now including transcripts of the episode (this link only works on the main site). The goal here is to increase accessibility for our fans! *Please note that all book titles linked below are Bookshop affiliate links. Your cost is the same, but a small portion of your purchase will come back to us to help offset the costs of the show. If you'd prefer to shop on Amazon, you can still do so here through our main storefront. Anything you buy there (even your laundry detergent, if you recently got obsessed with switching up your laundry game) kicks a small amount back to us. Thanks for your support!*   . . . . 1:20 - Bookish Moment of the Week 3:49 - Laura Tremaine's Secret Stuff 10:35 - Current Reads 11:08 - NetGalley  11:19 - Holmes Coming by Kenneth Johnson (Meredith)  16:47 - Killers of a Certain Age by Deanna Raybourn (Kaytee) 20:28 - Dead and Gondola by Ann Claire (Meredith) 24:14 - Black No More by George Schuyler (Kaytee) 24:18 - Currently Reading Patreon  26:44 - Black No More by George Schuyler audiobook cover 28:41 - Meredith, Alone by Claire Alexander (Meredith) 31:19 - The Storied Life of A.J. Fikry by Gabrielle Zevin 31:20 - The Story of Arthur Truluv by Elizabeth Berg 31:39 - A Man Called Ove by Fredrik Backman  33:54 - Breathe and Count Back From Ten by Natalia Sylvester  (Kaytee) 36:11 - Everyone Knows You Go Home by Natalia Sylvester 37:05 - Deep Dive: Our “Between Books” Processes  41:25 - CAWPILE system explained via Bookriot 42:39 - The Ten Thousand Doors of January by Alix E. Harrow 42:41 - In This House of Brede by Rumer Godden 44:54 - The Winners by Fredrik Backman 44:56 - Witch, Please by Ann Aguirre  48:41 - Meet Us At The Fountain I wish everyone would read The Ice House by Minette Walters. (Meredith) 49:05 - The Ice House by Minette Walters (Amazon link, not available on Bookshop) 51:04 - BritBox 52:22 - Fox Evil by Minette Walters (Amazon link, not available on Bookshop) I wish everyone would read Braiding Sweetgrass in November. (Kaytee) 52:43 - Braiding Sweetgrass by Robin Wall Kimmerer 53:54 - Braiding Sweetgrass for Young Adults by Robin Wall Kimmerer Connect With Us: Meredith is @meredith.reads on Instagram Kaytee is @notesonbookmarks on Instagram Mindy is @gratefulforgrace on Instagram Mary is @maryreadsandsips on Instagram Roxanna is @roxannatheplanner on Instagram currentlyreadingpodcast.com @currentlyreadingpodcast on Instagram currentlyreadingpodcast@gmail.com Support us at patreon.com/currentlyreadingpodcast and www.zazzle.com/store/currentlyreading

In their darkest hours over the course of the twentieth century, W. E. B. Du Bois, Ella Baker, George Schuyler, and Fannie Lou Hamer gathered hundreds across the United States and beyond to build vast, now forgotten, networks of mutual aid: farms, shops, schools, banks, daycares, homes, health clinics, and burial grounds. They called these spaces cooperatives, local challenges to global capital, where people pooled all they had to meet all their needs.  In Dreaming the Present: Time, Aesthetics, and the Black Cooperative Movement (UNC Press, 2022), Irvin J. Hunt argues that their overarching need was to free their movement from the logic of progress. Steeped in the wonders of this movement's material afterlife, Hunt extrapolates three non-progressive forms of movement time: a continual beginning, a deliberate falling apart, and a kind of all-at-once simultaneity. These temporalities describe how these leaders, along with their circles, maneuvered the law, reappropriated property, expressed the pleasures of resistance, challenged the value of longevity, built autonomous communities, and fundamentally reimagined what a movement can be. Hunt offers both an original account of Black mutual aid and, in a world of diminishing of futures, a moving meditation on the possibilities of the present. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In their darkest hours over the course of the twentieth century, W. E. B. Du Bois, Ella Baker, George Schuyler, and Fannie Lou Hamer gathered hundreds across the United States and beyond to build vast, now forgotten, networks of mutual aid: farms, shops, schools, banks, daycares, homes, health clinics, and burial grounds. They called these spaces cooperatives, local challenges to global capital, where people pooled all they had to meet all their needs.  In Dreaming the Present: Time, Aesthetics, and the Black Cooperative Movement (UNC Press, 2022), Irvin J. Hunt argues that their overarching need was to free their movement from the logic of progress. Steeped in the wonders of this movement's material afterlife, Hunt extrapolates three non-progressive forms of movement time: a continual beginning, a deliberate falling apart, and a kind of all-at-once simultaneity. These temporalities describe how these leaders, along with their circles, maneuvered the law, reappropriated property, expressed the pleasures of resistance, challenged the value of longevity, built autonomous communities, and fundamentally reimagined what a movement can be. Hunt offers both an original account of Black mutual aid and, in a world of diminishing of futures, a moving meditation on the possibilities of the present. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In their darkest hours over the course of the twentieth century, W. E. B. Du Bois, Ella Baker, George Schuyler, and Fannie Lou Hamer gathered hundreds across the United States and beyond to build vast, now forgotten, networks of mutual aid: farms, shops, schools, banks, daycares, homes, health clinics, and burial grounds. They called these spaces cooperatives, local challenges to global capital, where people pooled all they had to meet all their needs.  In Dreaming the Present: Time, Aesthetics, and the Black Cooperative Movement (UNC Press, 2022), Irvin J. Hunt argues that their overarching need was to free their movement from the logic of progress. Steeped in the wonders of this movement's material afterlife, Hunt extrapolates three non-progressive forms of movement time: a continual beginning, a deliberate falling apart, and a kind of all-at-once simultaneity. These temporalities describe how these leaders, along with their circles, maneuvered the law, reappropriated property, expressed the pleasures of resistance, challenged the value of longevity, built autonomous communities, and fundamentally reimagined what a movement can be. Hunt offers both an original account of Black mutual aid and, in a world of diminishing of futures, a moving meditation on the possibilities of the present. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In their darkest hours over the course of the twentieth century, W. E. B. Du Bois, Ella Baker, George Schuyler, and Fannie Lou Hamer gathered hundreds across the United States and beyond to build vast, now forgotten, networks of mutual aid: farms, shops, schools, banks, daycares, homes, health clinics, and burial grounds. They called these spaces cooperatives, local challenges to global capital, where people pooled all they had to meet all their needs.  In Dreaming the Present: Time, Aesthetics, and the Black Cooperative Movement (UNC Press, 2022), Irvin J. Hunt argues that their overarching need was to free their movement from the logic of progress. Steeped in the wonders of this movement's material afterlife, Hunt extrapolates three non-progressive forms of movement time: a continual beginning, a deliberate falling apart, and a kind of all-at-once simultaneity. These temporalities describe how these leaders, along with their circles, maneuvered the law, reappropriated property, expressed the pleasures of resistance, challenged the value of longevity, built autonomous communities, and fundamentally reimagined what a movement can be. Hunt offers both an original account of Black mutual aid and, in a world of diminishing of futures, a moving meditation on the possibilities of the present. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In their darkest hours over the course of the twentieth century, W. E. B. Du Bois, Ella Baker, George Schuyler, and Fannie Lou Hamer gathered hundreds across the United States and beyond to build vast, now forgotten, networks of mutual aid: farms, shops, schools, banks, daycares, homes, health clinics, and burial grounds. They called these spaces cooperatives, local challenges to global capital, where people pooled all they had to meet all their needs.  In Dreaming the Present: Time, Aesthetics, and the Black Cooperative Movement (UNC Press, 2022), Irvin J. Hunt argues that their overarching need was to free their movement from the logic of progress. Steeped in the wonders of this movement's material afterlife, Hunt extrapolates three non-progressive forms of movement time: a continual beginning, a deliberate falling apart, and a kind of all-at-once simultaneity. These temporalities describe how these leaders, along with their circles, maneuvered the law, reappropriated property, expressed the pleasures of resistance, challenged the value of longevity, built autonomous communities, and fundamentally reimagined what a movement can be. Hunt offers both an original account of Black mutual aid and, in a world of diminishing of futures, a moving meditation on the possibilities of the present. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com.

In their darkest hours over the course of the twentieth century, W. E. B. Du Bois, Ella Baker, George Schuyler, and Fannie Lou Hamer gathered hundreds across the United States and beyond to build vast, now forgotten, networks of mutual aid: farms, shops, schools, banks, daycares, homes, health clinics, and burial grounds. They called these spaces cooperatives, local challenges to global capital, where people pooled all they had to meet all their needs.  In Dreaming the Present: Time, Aesthetics, and the Black Cooperative Movement (UNC Press, 2022), Irvin J. Hunt argues that their overarching need was to free their movement from the logic of progress. Steeped in the wonders of this movement's material afterlife, Hunt extrapolates three non-progressive forms of movement time: a continual beginning, a deliberate falling apart, and a kind of all-at-once simultaneity. These temporalities describe how these leaders, along with their circles, maneuvered the law, reappropriated property, expressed the pleasures of resistance, challenged the value of longevity, built autonomous communities, and fundamentally reimagined what a movement can be. Hunt offers both an original account of Black mutual aid and, in a world of diminishing of futures, a moving meditation on the possibilities of the present. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tariq Trotter, best known in music as Black Thought, the emcee of the Roots, is regarded by many hip-hop fans as one of the best freestyle rappers ever. His work changed shape when the Roots became the house band for Jimmy Fallon's late-night show, and again when he began performing standup comedy. “I've spent most of my career with my sunglasses and my hat pulled down low, very many layers of defense,” he tells Jelani Cobb. “You're up there as a comedian, it's just you and your ideas and a microphone, no light show, no band. . . . After having done this for over thirty years, what else can I do, how can I become a better storyteller?” Trotter's latest endeavor has been writing the music and lyrics for “Black No More,” a musical-theatre production based on the eponymous novel, by George Schuyler;  the script is by John Ridley, with direction by Scott Elliott. Schuyler's book is a dark satire, written during the Harlem Renaissance, that describes the development of a “cure” for Blackness; Trotter stars as Dr. Junius Crookman, who believes that this remedy will solve America's problems with race. “My focus became almost rapping as little as possible” in the show, Trotter says; “I wanted this to be above and beyond folks' expectations.”  “Black No More” is in previews at the Pershing Square Signature Center. It opens February 15th.

Tariq Trotter, best known in music as Black Thought, the emcee of the Roots, is regarded by many hip-hop fans as one of the best freestyle rappers ever. His work changed shape when the Roots became the house band for Jimmy Fallon's late-night show, and again when he began performing standup comedy. “I've spent most of my career with my sunglasses and my hat pulled down low, very many layers of defense,” he tells Jelani Cobb. “You're up there as a comedian, it's just you and your ideas and a microphone, no light show, no band. . . . After having done this for over thirty years, what else can I do, how can I become a better storyteller?” Trotter's latest endeavor has been writing the music and lyrics for “Black No More,” a musical-theatre production based on the eponymous novel, by George Schuyler;  the script is by John Ridley, with direction by Scott Elliott. Schuyler's book is a dark satire, written during the Harlem Renaissance, that describes the development of a “cure” for Blackness; Trotter stars as Dr. Junius Crookman, who believes that this remedy will solve America's problems with race. “My focus became almost rapping as little as possible” in the show, Trotter says; “I wanted this to be above and beyond folks' expectations.”  “Black No More” is in previews at the Pershing Square Signature Center. It opens February 15th.

A discussion with Irvin Hunt, who teaches in the Department of English at University of Illinois at Urbana-Champaign in Urbana, Illinois. He writes on African American literature and political history with special emphasis on art, world-making, and their temporalities in the context of a racially fraught society. Our conversation is about his new book Dreaming the Present: Time, Aesthetics, and the Black Cooperative Movement, forthcoming in early April 2022 with University of North Carolina Press. Topics include what it means to write and think theoretically about activist figures, to embed theoretical figures in social and political history, and the stakes of thinking about Black life as in the present and not inextricably, irretrievably tied to the abject past nor to a future of hope.

Kevin Currie-Knight and Sheena Mason (SUNY Oneonta) discuss Sheena's theory of racelessness, why she is a race skeptic and eliminativist, and their mutual interest in the race satire of Harlem Renaissance writer George Schuyler. :05 - Why talk about race always seems so polarized and partisan7:45 - Sheena is a skeptic and eliminativist about race. What does that mean, and how does it compare to other approaches? 17:35 - Ibram Kendi's approach to thinking about race is understandable but wrong. 29:56: How to attempt racelessness in a world so used to the existence of race? 40:29 - what will "interracial" intimacy, marriage, and births do to current notions of race? 51:36 - Harlem Renaissance writer George Schuyler and satirizing the fiction of race1;07:25 - Is Schuyler's skepticism about race partly why he drifted to the political right-wing? CONNECT WITH SHEENA: YouTube: https://www.youtube.com/c/queensheLinkedIn: https://www.linkedin.com/company/theory-of-racelessness Website: https://www.theoryofracelessness.org

The Shoemaker Murder can be found in the anthology “Spooks, Spies, and Private Eyes” edited by Paula L. Woods. A collection of mystery, crime, and suspense fiction by Black authors. You can purchase you own copy of this anthology by going to www.ifoundthisgreatbook.com/145. The Shoemaker Murder is a locked room mystery set in Harlem in the early 1900s. Johnson, the shoemaker, lies dead on his shop floor. He was hit brutally in the back of the head with a hammer. The door of the shop was locked from the inside, the transom was nailed shut, and everyone around the shop swore that no one entered or existed the shop before and after the murder. Detective Sergeant Henry Burns oversees the case. A tall Black man with a keen eye for details. He begins questioning everyone in proximity of the scene of the crime and thoroughly inspects the building. He discovered a possible way in the shop but how did the murderer exit without leaving a trace and leave all the doors locked from the inside? Detective Sergeant Burns strikes upon the answer, brings his suspect in for questioning and sets a trap that leaves the murderer no choice but to confess.   This is a quick read and overall, an enjoyable story. It is not the most complex locked room mystery you will read. It helps if you are familiar with the types of access points homes in the 1900s would have had. You definitely see how Detective Sergeant Burns has a gift for observation and deductive logic. When he explains how he knew who to bring in for questioning it will make sense. This story is significant because of its author. George Schuyler is a noted writer of the Harlem Renaissance and beyond. Known for his scathing articles and fiction, which exposed corruption and fraud among whites and blacks. I first became aware of Mr. Schuyler from his book, “Black No More.” This book satirizes American racism, and no one is safe from his biting wit. Schuyler was also the author of several mysteries and crime fiction that were published under his name and pen names. “Black No More” is widely available but many of his other works are a little harder to find. In the 1930s, he wrote some of the earliest known political thrillers by a Black author. I found one collection of these political thrillers on archiver.org. Another collection of stories “Ethiopian Stories” is harder to find and can be quite expensive. Let's hope as these works become part of the public domain they can be reprinted and made available for all people interested. His autobiography is widely available. where he details his life as a conservative.

Comparing the legacies of Thomas Sowell and George Schuyler ... Making the case for Sowell's significance ... The task of the popularizer ... Why Sowell's book A Conflict of Visions is important ... The norm of inter-group disparity ... What happened to Glenn's generation of heterodox Black intellectuals? ... Why it's hard to be conservative in academia ... Where is the left-wing critique of progressive racial politics? ...

Comparing the legacies of Thomas Sowell and George Schuyler ... Making the case for Sowell's significance ... The task of the popularizer ... Why Sowell's book A Conflict of Visions is important ... The norm of inter-group disparity ... What happened to Glenn's generation of heterodox Black intellectuals? ... Why it's hard to be conservative in academia ... Where is the left-wing critique of progressive racial politics? ...

This week John and I have something a little different for you: An interview with Wall Street Journal columnist and Manhattan Institute Senior Fellow Jason Riley about his recent book, Maverick: A Biography of Thomas Sowell. We discuss Sowell's ideas, their influence, and his place within the pantheon of American (and black America), intellectuals. Among his innumerable contributions, Sowell's books—especially A Conflict of Visions, Knowledge and Decisions, and Basic Economics—are a particular focus of this wide-ranging conversation. We also get into a broader discussion about black intellectuals, conservatism, and the academy. And don’t worry, Substack subscribers, John and I will be posting our monthly Q&A later this week. Stay tuned!As always, I’m curious to know what you think. Let me know here and on Discord.0:00 Intro 1:10 Comparing the legacies of Thomas Sowell and George Schuyler 5:27 Making the case for Sowell’s significance 16:55 The task of the popularizer 23:55 Why Sowell’s book A Conflict of Visions is important 31:15 The norm of inter-group disparity 40:47 What happened to Glenn’s generation of heterodox Black intellectuals? 50:12 Why it’s hard to be a conservative in academia 59:54 Where is the left-wing critique of progressive racial politics? LinksJason’s book, Maverick: A Biography of Thomas SowellSowell’s book, A Conflict of Visions: Ideological Origins of Political StruggleMatt Taibbi and Katie Halper's talk with Adolph Reed This is a public episode. Get access to private episodes at glennloury.substack.com/subscribe

Thank you so much for listening to the Bob Harden Show, celebrating over nine years broadcasting weekdays on the internet – providing you news and commentary based on the principles of individual liberty, personal responsibility, limited government and the rule of law. On Monday's show, we discuss the importance of the observance of Memorial Day, and we discuss China's change in the two-child policy, the changes in the Israeli government, and growing anti-Semitism in America with the Founder and Publisher of HistoryCentral.com, Marc Schulman, who is in Tel Aviv. We discuss the great contrarian and black journalist, George Schuyler with the President Emeritus of the Foundation for Economic Education, Larry Reed. We also discuss three key Democrat Senators who are obstructing the Biden agenda with former Barron's Washington Bureau Chief and author, Jim McTague. We have great guests lined up for Tuesday's show including our State Senator Kathleen Passidomo, the author of “Greetings from Paradise” (and my wife) Linda Harden, entertaining local guest commentator Boo Mortenson, and the founder and President of Less Government, Seton Motley. Please join us live at 7 a.m. on this website, or you can access the show anytime on podcast platforms (iTunes, TuneIn, Spotify, and Stitcher, ChoiceSocial and Vurbl).

Thank you so much for listening to the Bob Harden Show, celebrating over nine years broadcasting weekdays on the internet – providing you news and commentary based on the principles of individual liberty, personal responsibility, limited government and the rule of law. On Monday’s show, we discuss the importance of the observance of Memorial Day, … The post The Great Individualist and Journalist, George Schuyler appeared first on Bob Harden Show.

Friend of the pod, cultural critic, and Northwestern University professor of African American literature Lauren Michele Jackson joins us for our discussion of George Schuyler’s Black No More (1931). If you’ve ever wondered what it’s like to read a wacky-ass novel written by a socialist-turned-right-wing nut, have we got the one for you. Schuyler’s novel takes up the story of what might happen if there were a machine that turned black people white (extra-white, in fact) and how various social and political actors would handle it. Spoiler: the KKK doesn’t handle it great. We discuss the terms/objects of satire and whether Schuyler was mostly just being a dick when he wrote this, the notion of the “grift” or confidence scheme, and how the novel puts pressure on “race” as a series of concepts. We read the Penguin edition with an introduction by Danzy Senna. For more context on Schuyler and his contentious relationship with other black writers of the 1920s and ‘30s, you can read Schuyler’s essay “The Negro-Art Hokum” and Langston Hughes’s response, “The Negro Artist and the Racial Mountain.” And, of course, we highly recommend Lauren’s White Negroes: When Cornrows Were in Vogue… and Other Thoughts on Cultural Appropriation, published by Beacon Press. Find us on Twitter, Instagram, and Facebook @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Lauren on Twitter @proseb4bros, Tristan @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus.

George Schuyler's "Black No More" with Dr. Jonathan Cook by Luke Johnson

Hannah and Michael travel back to early 20th-century New York and learn about two so-called “forgotten women” of the Harlem Renaissance. This one’s a remedial education!   Books Mentioned: Passing, Nella Larsen; Plum Bun, Jessie Redmon Fauset; The Warmth of Other Suns, Isabel Wilkerson; Their Eyes Were Watching God, Zora Neale Hurston; The Vanishing Half, Brit Bennett; Autobiography of an Ex-Colored Man, James Weldon Johnson; Black No More, George Schuyler.  Other Podcasts on the HR: 15 Minute History History of Color On Nella Larsen: Nella Larsen Wrestled With Race and Sexuality in the Harlem Renaissance ON WRITERS AND WRITING; Authentic American Two Classic American Novels About the Madness and Beauty of Race George Hutchinson's Biography On Jessie Redmon Fauset The Forgotten Work of Jessie Redmon Fauset https://jessiefauset-blog.tumblr.com About Jessie Redmon Fauset | Academy of American Poets The Story of Jessie Redmon Fauset Jessie R. Fauset (1882-1961) • Audio featured in this episode: Duke Ellington, “Take the A Train” Ma Rainey, “Ma and Pa Poorhouse Blues” Marcus Garvey in 1921 Bessie Smith, “Nobody Knows You When You’re Down and Out” Citation from George Hutchinson from intro to this volume: Hutchinson, G. (Ed.). (2007). The Cambridge Companion to the Harlem Renaissance (Cambridge Companions to Literature). Cambridge: Cambridge University Press.  Gradisek and Scott article: Gradisek, Amanda, and Ron Scott. "Reconceiving and Redeeming the Self: Passing, the Harlem Renaissance, and Zombies." Reconstruction: Studies in Contemporary Culture, vol. 17, no. 2, 2017.  Email us at thatbookpod@gmail.com. Friend us on Goodreads and follow us on Instagram, Twitter, and Facebook.

In this this interview, Carrie Tippen talks with Catherine Keyser about early twentieth century fiction and the role that modern food plays in literature as a language for talking about race and racial categories. In Artificial Color: Modern Food and Racial Fictions, published in 2019 by Oxford University Press, Keyser explores the ways that modern fiction writers responded to the theories and anxieties about race in the early twentieth century through related anxieties about modern industrial food. In each chapter, Keyser focuses on a few closely related authors and texts, linked by their common use of food for plot, imagery, and metaphor, each one shedding some light on how that food carried meanings of racial identity. Keyser uncovers the historical context around each food to help today's readers see what it might have meant to the writers and their contemporary readers. Keyser examines the use of soda pop and syrup or images of effervescence in Jean Toomer's Cane as a metaphor for inevitable racial intermixing; the promises of raw food for revitalizing African American resistance in George Schuyler's speculative fiction; Ernest Hemingway and Gertrude Stein's search for a cosmopolitan identity through European terroir; the fragility of whiteness in F. Scott and Zelda Fitzgerald's anxieties about coffee, wine, and the sticky Mediterranean; and the failure of capitalism to secure black masculinity through the figure of the grocer in Zora Neale Hurtson's Their Eyes Were Watching God and Dorothy West's The Living is Easy. Keyser's careful pairing of familiar texts with their less canonical contemporaries brings an important new perspective to both. Catherine Keyser is Associate Professor and McCausland Fellow at the University of South Carolina. Cat's research focuses on Modern American Literature, African American Literature, Periodicals, Gender, and Food. She is also the author of the 2010 book Playing Smart: New York Women Writers and Modern Magazine Culture from Rutgers University Press, 2010. You can follow Cat on Twitter @Cat_Keyser. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature.  Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Her academic work has been published in Food and Foodways, American Studies, Southern Quarterly, and Food, Culture, and Society.

In this this interview, Carrie Tippen talks with Catherine Keyser about early twentieth century fiction and the role that modern food plays in literature as a language for talking about race and racial categories. In Artificial Color: Modern Food and Racial Fictions, published in 2019 by Oxford University Press, Keyser explores the ways that modern fiction writers responded to the theories and anxieties about race in the early twentieth century through related anxieties about modern industrial food. In each chapter, Keyser focuses on a few closely related authors and texts, linked by their common use of food for plot, imagery, and metaphor, each one shedding some light on how that food carried meanings of racial identity. Keyser uncovers the historical context around each food to help today's readers see what it might have meant to the writers and their contemporary readers. Keyser examines the use of soda pop and syrup or images of effervescence in Jean Toomer's Cane as a metaphor for inevitable racial intermixing; the promises of raw food for revitalizing African American resistance in George Schuyler's speculative fiction; Ernest Hemingway and Gertrude Stein's search for a cosmopolitan identity through European terroir; the fragility of whiteness in F. Scott and Zelda Fitzgerald's anxieties about coffee, wine, and the sticky Mediterranean; and the failure of capitalism to secure black masculinity through the figure of the grocer in Zora Neale Hurtson's Their Eyes Were Watching God and Dorothy West's The Living is Easy. Keyser's careful pairing of familiar texts with their less canonical contemporaries brings an important new perspective to both. Catherine Keyser is Associate Professor and McCausland Fellow at the University of South Carolina. Cat's research focuses on Modern American Literature, African American Literature, Periodicals, Gender, and Food. She is also the author of the 2010 book Playing Smart: New York Women Writers and Modern Magazine Culture from Rutgers University Press, 2010. You can follow Cat on Twitter @Cat_Keyser. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature.  Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Her academic work has been published in Food and Foodways, American Studies, Southern Quarterly, and Food, Culture, and Society. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In this this interview, Carrie Tippen talks with Catherine Keyser about early twentieth century fiction and the role that modern food plays in literature as a language for talking about race and racial categories. In Artificial Color: Modern Food and Racial Fictions, published in 2019 by Oxford University Press, Keyser explores the ways that modern fiction writers responded to the theories and anxieties about race in the early twentieth century through related anxieties about modern industrial food. In each chapter, Keyser focuses on a few closely related authors and texts, linked by their common use of food for plot, imagery, and metaphor, each one shedding some light on how that food carried meanings of racial identity. Keyser uncovers the historical context around each food to help today’s readers see what it might have meant to the writers and their contemporary readers. Keyser examines the use of soda pop and syrup or images of effervescence in Jean Toomer’s Cane as a metaphor for inevitable racial intermixing; the promises of raw food for revitalizing African American resistance in George Schuyler’s speculative fiction; Ernest Hemingway and Gertrude Stein’s search for a cosmopolitan identity through European terroir; the fragility of whiteness in F. Scott and Zelda Fitzgerald’s anxieties about coffee, wine, and the sticky Mediterranean; and the failure of capitalism to secure black masculinity through the figure of the grocer in Zora Neale Hurtson’s Their Eyes Were Watching God and Dorothy West’s The Living is Easy. Keyser’s careful pairing of familiar texts with their less canonical contemporaries brings an important new perspective to both. Catherine Keyser is Associate Professor and McCausland Fellow at the University of South Carolina. Cat’s research focuses on Modern American Literature, African American Literature, Periodicals, Gender, and Food. She is also the author of the 2010 book Playing Smart: New York Women Writers and Modern Magazine Culture from Rutgers University Press, 2010. You can follow Cat on Twitter @Cat_Keyser. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature.  Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Her academic work has been published in Food and Foodways, American Studies, Southern Quarterly, and Food, Culture, and Society. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this this interview, Carrie Tippen talks with Catherine Keyser about early twentieth century fiction and the role that modern food plays in literature as a language for talking about race and racial categories. In Artificial Color: Modern Food and Racial Fictions, published in 2019 by Oxford University Press, Keyser explores the ways that modern fiction writers responded to the theories and anxieties about race in the early twentieth century through related anxieties about modern industrial food. In each chapter, Keyser focuses on a few closely related authors and texts, linked by their common use of food for plot, imagery, and metaphor, each one shedding some light on how that food carried meanings of racial identity. Keyser uncovers the historical context around each food to help today’s readers see what it might have meant to the writers and their contemporary readers. Keyser examines the use of soda pop and syrup or images of effervescence in Jean Toomer’s Cane as a metaphor for inevitable racial intermixing; the promises of raw food for revitalizing African American resistance in George Schuyler’s speculative fiction; Ernest Hemingway and Gertrude Stein’s search for a cosmopolitan identity through European terroir; the fragility of whiteness in F. Scott and Zelda Fitzgerald’s anxieties about coffee, wine, and the sticky Mediterranean; and the failure of capitalism to secure black masculinity through the figure of the grocer in Zora Neale Hurtson’s Their Eyes Were Watching God and Dorothy West’s The Living is Easy. Keyser’s careful pairing of familiar texts with their less canonical contemporaries brings an important new perspective to both. Catherine Keyser is Associate Professor and McCausland Fellow at the University of South Carolina. Cat’s research focuses on Modern American Literature, African American Literature, Periodicals, Gender, and Food. She is also the author of the 2010 book Playing Smart: New York Women Writers and Modern Magazine Culture from Rutgers University Press, 2010. You can follow Cat on Twitter @Cat_Keyser. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature.  Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Her academic work has been published in Food and Foodways, American Studies, Southern Quarterly, and Food, Culture, and Society. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this this interview, Carrie Tippen talks with Catherine Keyser about early twentieth century fiction and the role that modern food plays in literature as a language for talking about race and racial categories. In Artificial Color: Modern Food and Racial Fictions, published in 2019 by Oxford University Press, Keyser explores the ways that modern fiction writers responded to the theories and anxieties about race in the early twentieth century through related anxieties about modern industrial food. In each chapter, Keyser focuses on a few closely related authors and texts, linked by their common use of food for plot, imagery, and metaphor, each one shedding some light on how that food carried meanings of racial identity. Keyser uncovers the historical context around each food to help today’s readers see what it might have meant to the writers and their contemporary readers. Keyser examines the use of soda pop and syrup or images of effervescence in Jean Toomer’s Cane as a metaphor for inevitable racial intermixing; the promises of raw food for revitalizing African American resistance in George Schuyler’s speculative fiction; Ernest Hemingway and Gertrude Stein’s search for a cosmopolitan identity through European terroir; the fragility of whiteness in F. Scott and Zelda Fitzgerald’s anxieties about coffee, wine, and the sticky Mediterranean; and the failure of capitalism to secure black masculinity through the figure of the grocer in Zora Neale Hurtson’s Their Eyes Were Watching God and Dorothy West’s The Living is Easy. Keyser’s careful pairing of familiar texts with their less canonical contemporaries brings an important new perspective to both. Catherine Keyser is Associate Professor and McCausland Fellow at the University of South Carolina. Cat’s research focuses on Modern American Literature, African American Literature, Periodicals, Gender, and Food. She is also the author of the 2010 book Playing Smart: New York Women Writers and Modern Magazine Culture from Rutgers University Press, 2010. You can follow Cat on Twitter @Cat_Keyser. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature.  Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Her academic work has been published in Food and Foodways, American Studies, Southern Quarterly, and Food, Culture, and Society. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this this interview, Carrie Tippen talks with Catherine Keyser about early twentieth century fiction and the role that modern food plays in literature as a language for talking about race and racial categories. In Artificial Color: Modern Food and Racial Fictions, published in 2019 by Oxford University Press, Keyser explores the ways that modern fiction writers responded to the theories and anxieties about race in the early twentieth century through related anxieties about modern industrial food. In each chapter, Keyser focuses on a few closely related authors and texts, linked by their common use of food for plot, imagery, and metaphor, each one shedding some light on how that food carried meanings of racial identity. Keyser uncovers the historical context around each food to help today’s readers see what it might have meant to the writers and their contemporary readers. Keyser examines the use of soda pop and syrup or images of effervescence in Jean Toomer’s Cane as a metaphor for inevitable racial intermixing; the promises of raw food for revitalizing African American resistance in George Schuyler’s speculative fiction; Ernest Hemingway and Gertrude Stein’s search for a cosmopolitan identity through European terroir; the fragility of whiteness in F. Scott and Zelda Fitzgerald’s anxieties about coffee, wine, and the sticky Mediterranean; and the failure of capitalism to secure black masculinity through the figure of the grocer in Zora Neale Hurtson’s Their Eyes Were Watching God and Dorothy West’s The Living is Easy. Keyser’s careful pairing of familiar texts with their less canonical contemporaries brings an important new perspective to both. Catherine Keyser is Associate Professor and McCausland Fellow at the University of South Carolina. Cat’s research focuses on Modern American Literature, African American Literature, Periodicals, Gender, and Food. She is also the author of the 2010 book Playing Smart: New York Women Writers and Modern Magazine Culture from Rutgers University Press, 2010. You can follow Cat on Twitter @Cat_Keyser. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature.  Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Her academic work has been published in Food and Foodways, American Studies, Southern Quarterly, and Food, Culture, and Society. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this this interview, Carrie Tippen talks with Catherine Keyser about early twentieth century fiction and the role that modern food plays in literature as a language for talking about race and racial categories. In Artificial Color: Modern Food and Racial Fictions, published in 2019 by Oxford University Press, Keyser explores the ways that modern fiction writers responded to the theories and anxieties about race in the early twentieth century through related anxieties about modern industrial food. In each chapter, Keyser focuses on a few closely related authors and texts, linked by their common use of food for plot, imagery, and metaphor, each one shedding some light on how that food carried meanings of racial identity. Keyser uncovers the historical context around each food to help today’s readers see what it might have meant to the writers and their contemporary readers. Keyser examines the use of soda pop and syrup or images of effervescence in Jean Toomer’s Cane as a metaphor for inevitable racial intermixing; the promises of raw food for revitalizing African American resistance in George Schuyler’s speculative fiction; Ernest Hemingway and Gertrude Stein’s search for a cosmopolitan identity through European terroir; the fragility of whiteness in F. Scott and Zelda Fitzgerald’s anxieties about coffee, wine, and the sticky Mediterranean; and the failure of capitalism to secure black masculinity through the figure of the grocer in Zora Neale Hurtson’s Their Eyes Were Watching God and Dorothy West’s The Living is Easy. Keyser’s careful pairing of familiar texts with their less canonical contemporaries brings an important new perspective to both. Catherine Keyser is Associate Professor and McCausland Fellow at the University of South Carolina. Cat’s research focuses on Modern American Literature, African American Literature, Periodicals, Gender, and Food. She is also the author of the 2010 book Playing Smart: New York Women Writers and Modern Magazine Culture from Rutgers University Press, 2010. You can follow Cat on Twitter @Cat_Keyser. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature.  Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Her academic work has been published in Food and Foodways, American Studies, Southern Quarterly, and Food, Culture, and Society. Learn more about your ad choices. Visit megaphone.fm/adchoices

An interesting science fiction novel on race and the color line in America. In George Schuyler's Black No More we discover what happens when science provides a solution to the race problem in America.

Picture the familiar scene: the visiting pastor thanks the local pastor for granting him the use of his pulpit; he sends out the call (“Can I just speak with you this morning?”) and the congregation responds (“Yessir! Amen!”). The disclaimer follows: he is only the vessel through which the Lord will speak. Should he say something with which one disagrees take it up with the Lord. He pats his brow, grips the podium; throws away his notes, transitions to improvisation; cadenced speech follows, and the congregation responds in kind. Erica R. Edwards describes the aforementioned as the charismatic scene in Charisma and the Fictions of Black Leadership (University of Minnesota Press, 2012). The new author probes charismatic leadership and its interventions found in literature written by African Americans throughout the 20th century. The fundamental questions Edwards, assistant professor of English at the University of California, Riverside asks are: What is the seduction of charismatic leadership? And, how does it shape 20th century African American literary productions? The rise of white supremacy coupled with sharecropping as a system of peonage made emancipation essentially a non-event. In the face of domestic terrorism singular, male leadership became a necessary survival strategy. Still, there is apparent dissonance; reverence for the black male leader in African American culture does not translate to the literature. From W.E.B. DuBois's stage pageant “The Star of Ethiopia” (1913) to Marcus Garvey's speech performances in 1920s Harlem, NY; from George Schuyler's Black Empire (1936-38) to Zora Neale Hurston's Moses, Man of the Mountain (1939); from Toni Morrison's Paradise (1997) to postulations by Eddie (played by Cedric the Entertainer) in “Barbershop” 1 & 2 (2002, 2004, respectively) Edwards demonstrates when one depends solely on the convention of singular male leadership as the answer to solving the various communal needs of the people much is at stake: gender oppression; the violence of silencing; and, dismissal of all alternative forms of leadership, just to name a few. “The dream” of singular black male leadership has translated to the nightmare for the masses–and women, in particular–time and time again. In the end the book leaves readers with a set of critical questions regarding charisma and leadership. Erica R. Edwards's Charisma is a critical read for anyone who is interested in the relationship between literature and real life scenes of black leadership–particularly as it plays out in the black political sphere in the post-civil rights era. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Picture the familiar scene: the visiting pastor thanks the local pastor for granting him the use of his pulpit; he sends out the call (“Can I just speak with you this morning?”) and the congregation responds (“Yessir! Amen!”). The disclaimer follows: he is only the vessel through which the Lord will speak. Should he say something with which one disagrees take it up with the Lord. He pats his brow, grips the podium; throws away his notes, transitions to improvisation; cadenced speech follows, and the congregation responds in kind. Erica R. Edwards describes the aforementioned as the charismatic scene in Charisma and the Fictions of Black Leadership (University of Minnesota Press, 2012). The new author probes charismatic leadership and its interventions found in literature written by African Americans throughout the 20th century. The fundamental questions Edwards, assistant professor of English at the University of California, Riverside asks are: What is the seduction of charismatic leadership? And, how does it shape 20th century African American literary productions? The rise of white supremacy coupled with sharecropping as a system of peonage made emancipation essentially a non-event. In the face of domestic terrorism singular, male leadership became a necessary survival strategy. Still, there is apparent dissonance; reverence for the black male leader in African American culture does not translate to the literature. From W.E.B. DuBois’s stage pageant “The Star of Ethiopia” (1913) to Marcus Garvey’s speech performances in 1920s Harlem, NY; from George Schuyler’s Black Empire (1936-38) to Zora Neale Hurston’s Moses, Man of the Mountain (1939); from Toni Morrison’s Paradise (1997) to postulations by Eddie (played by Cedric the Entertainer) in “Barbershop” 1 & 2 (2002, 2004, respectively) Edwards demonstrates when one depends solely on the convention of singular male leadership as the answer to solving the various communal needs of the people much is at stake: gender oppression; the violence of silencing; and, dismissal of all alternative forms of leadership, just to name a few. “The dream” of singular black male leadership has translated to the nightmare for the masses–and women, in particular–time and time again. In the end the book leaves readers with a set of critical questions regarding charisma and leadership. Erica R. Edwards’s Charisma is a critical read for anyone who is interested in the relationship between literature and real life scenes of black leadership–particularly as it plays out in the black political sphere in the post-civil rights era. Learn more about your ad choices. Visit megaphone.fm/adchoices

Picture the familiar scene: the visiting pastor thanks the local pastor for granting him the use of his pulpit; he sends out the call (“Can I just speak with you this morning?”) and the congregation responds (“Yessir! Amen!”). The disclaimer follows: he is only the vessel through which the Lord will speak. Should he say something with which one disagrees take it up with the Lord. He pats his brow, grips the podium; throws away his notes, transitions to improvisation; cadenced speech follows, and the congregation responds in kind. Erica R. Edwards describes the aforementioned as the charismatic scene in Charisma and the Fictions of Black Leadership (University of Minnesota Press, 2012). The new author probes charismatic leadership and its interventions found in literature written by African Americans throughout the 20th century. The fundamental questions Edwards, assistant professor of English at the University of California, Riverside asks are: What is the seduction of charismatic leadership? And, how does it shape 20th century African American literary productions? The rise of white supremacy coupled with sharecropping as a system of peonage made emancipation essentially a non-event. In the face of domestic terrorism singular, male leadership became a necessary survival strategy. Still, there is apparent dissonance; reverence for the black male leader in African American culture does not translate to the literature. From W.E.B. DuBois’s stage pageant “The Star of Ethiopia” (1913) to Marcus Garvey’s speech performances in 1920s Harlem, NY; from George Schuyler’s Black Empire (1936-38) to Zora Neale Hurston’s Moses, Man of the Mountain (1939); from Toni Morrison’s Paradise (1997) to postulations by Eddie (played by Cedric the Entertainer) in “Barbershop” 1 & 2 (2002, 2004, respectively) Edwards demonstrates when one depends solely on the convention of singular male leadership as the answer to solving the various communal needs of the people much is at stake: gender oppression; the violence of silencing; and, dismissal of all alternative forms of leadership, just to name a few. “The dream” of singular black male leadership has translated to the nightmare for the masses–and women, in particular–time and time again. In the end the book leaves readers with a set of critical questions regarding charisma and leadership. Erica R. Edwards’s Charisma is a critical read for anyone who is interested in the relationship between literature and real life scenes of black leadership–particularly as it plays out in the black political sphere in the post-civil rights era. Learn more about your ad choices. Visit megaphone.fm/adchoices