American poet, novelist, essayist, songwriter, playwright, editor, publisher, and professor emeritus at UC Berkeley
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8 episodes with Ishmael Reed
4 episodes with Ishmael Reed
3 episodes with Ishmael Reed
3 episodes with Ishmael Reed
2 episodes with Ishmael Reed
2 episodes with Ishmael Reed
2 episodes with Ishmael Reed
2 episodes with Ishmael Reed
2 episodes with Ishmael Reed
My guest is award-winning, world known American playwright, poet, novelist, essayist, song writer, composer, editor and publisher, Ishmael Reed. He is known for his satirical works challenging the American political culture. He is best known for his 1972 release of Mumbo Jumbo. Produced, directed, edited and host by Stephen E Davis.
In this episode of Working Class Audio, Matt welcomes San Francisco based Producer, Engineer and Mixer Case Newcomb. Case works out of many studios including Hyde Street and 25th Street Recording and has worked on projects for Ishmael Reed, NVRMAN, and Rafe Stepto. In This Episode, We Discuss: Audio Journey COVID Career Shift City College Program First Real Mix Passion For Audio Mentors Industry Connections Early Mixing Struggles Taking Command Customer Service Learning Process Career Aspirations Links and Show Notes: Case's Site Case on Instagram WCA # 157 with Dana Jae WCA #018 with David R. Bowels Matt's Rant: The People Around You Credits: Guest: Case Newcomb Host/Engineer/Producer: Matt Boudreau WCA Theme Music: Cliff Truesdell The Voice: Chuck Smith
Gloria J. Browne Marshall spotlights the work of poet Ishmael Reed for this episode of Law of the Land.
My guest is award-winning, world known American playwright, poet, novelist, essayist, song writer, composer, editor and publisher, Ishmael Reed. He is known for his satirical works challenging the American political culture. He is best known for his 1972 release of Mumbo Jumbo. Produced, directed, edited and host by Stephen E Davis.
A brief take on how authors like Ishmael Reed, Charles Johnson, James McBride, and Paul Beatty use humor and playfulness in neo-slave narratives to offer fresh, creative perspectives on slavery.Script by Howard Rambsy II Read by Kassandra Timm
Recorded by Ishmael Reed for Poem-a-Day, a series produced by the Academy of American Poets. Published on December 3, 2024. www.poets.org
Come one, come all, gather to hear of the tale of the Loop Garoo Kid and his travails through the Western wasteland as depicted within the covers of Ishmael Reed's second novel, Yellow Back Radio Broke-Down! Listen as our correspondent, Will, rants and raves about the depths to be found just at the surface of this gem of a book, let alone whatever great hoard of philosophies and fun might be seen beyond the surface by any so-moved to read it themselves..! Send your eagerly-awaited copies of The Free-Lance Pallbearers to PO Box #FF00FF Fortymile, Yukon, Canada, care of Mappod Zonus.If you like what we're doing and want to support the show, please consider making a donation on Ko-Fi. Funds we receive will be used to upgrade equipment, pay hosting fees, and help make the show better.https://ko-fi.com/mappingthezoneAs always, thanks so much for listening!Email: mappingthezonepod@gmail.comTwitter: https://twitter.com/pynchonpodInstagram:https://www.instagram.com/mappingthezonepodcast/
Ishmael Reed is one of America's greatest and most prolific living writers - but aged 86 he is writing his first music. Lindsay Johns travels to his home in Oakland, California, to join his first recording session, and find out what motivates him to keep writing. Between his home, his local bookstore, the city's downtown, restaurants and historical waterfront, Lindsay understands how much this city, and the West Coast spirit continues to animate Reed's writing, and his literary activism.
Kate Adie introduces stories from Sudan, Calabria in southern Italy, Japan, the Californian city of Oakland and Tbilisi in Georgia.The war in Sudan between its army and the paramilitary Rapid Support Forces has torn the country apart for more than 500 days. Civilians are bearing the brunt of the suffering as aid agencies have had their access blocked in many areas. Leila Molana Allen has seen how Sudanese volunteers are bringing food and medicine to communities now full of hungry, displaced and often traumatised people.The countryside of Calabria, in southern Italy, may look like a rural idyll. But much of its fertile agricultural land has been infiltrated by the local mafia network known as the Ndrangheta. Francisco Garcia met and talked to farmers trying to resist the organised crime groups which want to muscle in.There's a record number of abandoned homes or 'akiyas' in Japan. Over 9 million houses are standing empty, as the population ages and shrinks, and younger people move to the cities. Particularly in rural areas, many heirs aren't prepared to take on the costs of emptying, demolishing or rebuilding old family homes. Shaimaa Khalil stepped into a couple of period properties now being restored by their new owners.The city of Oakland, in northern California, once had a reputation for its political militancy and cultural inventiveness. These days it's known for bitter disputes over gentrification, homelessness, and public fear of crime. Lindsay Johns recently visited the city across the bay from San Francisco with of one of its most famous sons, author Ishmael Reed.And in the shadow of the Caucasus Mountains, Beth Timmins attends not one, but three Georgian weddings - occasions full of heritage, music, poetry and toasts of thick red wine. Producer: Polly Hope Editor: Tom Bigwood
Kate Wolf speaks with writer and journalist Yasmin Zaher about her debut novel, The Coin. An allegorical tale of alienation, loneliness, and repulsion, the book follows a Palestinian woman who's recently fulfilled her family's dream of moving to America. In New York, working as a middle school teacher, she finds herself disillusioned with the filth of the city and its poverty. She's beset with a deep unease at her own body and haunted by memories, especially that of a coin—a shekel—she swallowed on a car ride as a child just moments before a horrible accident. Estranged from the few people she knows in the city, her behavior becomes increasingly unhinged and bizarre in ways that complicate standard stories of immigration, and instead imagine the path of a character who sees through America's promise and realizes she has nothing to lose. Also, Nell Irvin Painter, author of I Just Keep Talking, returns to recommend three books and one magazine: The Plague Edition of Konch Magazine edited by Ishmael Reed and Tennessee Reed's; Black Art and Aesthetics: Relationalities, Interiorities, Reckonings edited by Michael Kelly and Monique Roelofs; James: a Novel by Percival Everett; and Changing My Mind: Occasional Essays by Zadie Smith.
Kate Wolf speaks with writer and journalist Yasmin Zaher about her debut novel, The Coin. An allegorical tale of alienation, loneliness, and repulsion, the book follows a Palestinian woman who's recently fulfilled her family's dream of moving to America. In New York, working as a middle school teacher, she finds herself disillusioned with the filth of the city and its poverty. She's beset with a deep unease at her own body and haunted by memories, especially that of a coin—a shekel—she swallowed on a car ride as a child just moments before a horrible accident. Estranged from the few people she knows in the city, her behavior becomes increasingly unhinged and bizarre in ways that complicate standard stories of immigration, and instead imagine the path of a character who sees through America's promise and realizes she has nothing to lose. Also, Nell Irvin Painter, author of I Just Keep Talking, returns to recommend three books and one magazine: The Plague Edition of Konch Magazine edited by Ishmael Reed and Tennessee Reed's; Black Art and Aesthetics: Relationalities, Interiorities, Reckonings edited by Michael Kelly and Monique Roelofs; James: a Novel by Percival Everett; and Changing My Mind: Occasional Essays by Zadie Smith.
This week on Voices Radio: Eric Mann and Channing Martinez talk to Misty Pegram of Anakbayan about the Cancel RIMPAC Campaign. The Rim of the Pacific (RIMPAC) exercises are the largest joint war exercises in the world with 26 of the U.S' allies, including Israel. The RIMPAC campaign has led to severe environmental impacts, gender-based violence, and fatter pockets for weapons manufacturers. Later in the episode, Eric Mann pays tribute to Willie Mays, who passed recently on June 18, 2024. Willie Mays was one of the 'greatest' baseball players of all time according to Eric, describing his infectious personality and electrifying performances. You will also hear a reading of Ishmael Reed's essay, "Juneteenth: Why Were The Enslaved In Texas?," published on Counterpunch. And last but not least, Channing talks about CicLAvia, an event which 'catalyzes vibrant public spaces, active transportation and good health through car-free street events.' -- Want stories and updates? Follow us on @voicesfromthefrontlines on Instagram. Today's episode of Voices from the Frontlines was produced by Eric Mann, Channing Martinez, and Shane Dimapanat. Edits by Shane Dimapanat. Find our past shows and articles on our website: voicesfromthefrontlines.com/
TICKETS FOR SATURDAY'S NOIDED LA EVENT HERE: https://ra.co/events/1892266 Dimitri and Khalid answer questions from the Grotto of Truth Discord about the Shakespeare authorship controversy, Ishmael Reed's 1972 novel “Mumbo Jumbo”, and a brief definition of “dracularity” as used on SJ. For access to premium episodes, NOID-FM mixes, upcoming installments of DEMON FORCES, and the Grotto of Truth Discord, subscribe to the Al-Wara' Frequency at patreon.com/subliminaljihad.
In a new novel, Percival Everett offers a radically different perspective on the classic story “The Adventures of Huckleberry Finn.” Everett tells the story of Jim, who is escaping slavery; he calls his book “James.” “My Jim—he's not simple,” Everett tells Julian Lucas. “The Jim that's represented in Huck Finn is simple.” Everett, whose 2001 novel “Erasure” was adapted as the Oscar-winning film “American Fiction,” restores Jim's inner life as a father surviving enslavement, and forced to play along with the pranks of two white boys. But like other Black authors, including Toni Morrison and Ishmael Reed, Everett considers Twain's original a central American text grappling with slavery. “I imagine myself in a conversation with Twain doing this. And one of the things I think he and I would both agree on is that he doesn't write Jim's story because he's not capable of writing Jim's story—any more than I'm capable of writing Huck's story.”
1. We are joined by the erudite playwright, musician, and scholar Ishmael Reed, Carla Blank, director, and an illustrious cast tospeak about The Shine Challenge online at The Nuyorican Poetry Cafe in New York. Reservations and further information can be found at www.nuyorican.org Reed says: "In my grandmother's brother's house, the only painting on the wall was that of the Titanic. The sinking of the Titanic challenged the boasts of white supremacy. From the collective imagination of the Negro streets came the “toast” of “Shine,” who delivers a warning to the first- class passengers that the ship, thought to be invincible, was taking water. One might consider Shine to be the grassroots nomination for a member of the Black prophetic tradition." Ishmael Reed has lengthened the 40 or so lines of the typical Shine rap into a 100-page script in which he expands on the issues addressed in the original toast: race, class, immigration, engineering, and Edwardian morality by putting Shine on trial, in which he is both the accused and his own defense attorney. One of the reasons Reed wrote the play was he found that members of three generations of Blacks had never heard the story of Shine. He calls the play, The Shine Challenge, 2024, because he expects that a future playwright will expand upon what he has accomplished. Directed by Carla Blank, The Shine Challenge, 2024 cast includes Jesse Bueno, Maurice Carlton, Caridad De La Luz, Emil Guillermo, Rome Neal, Ishmael Reed, Tennessee Reed, Laura Robards, Monisha Shiva, and Brian Simmons as Shine. 2. We close with an interview with Lola Hanif, womanist scholar, healer, activist, writer (3/8/2012).
“What really amazed me here was that so many of the authors who submitted stories wrote something completely outside their genre,” reflects best-selling author Douglas Preston, one of the project editors behind the dynamic new collaborative novel Fourteen Days. “This book is full of all kinds of weird stories.” Yes, it is. And so is podcast guest Douglas Preston, co-author of dozens of New York Times best-selling thrillers written with his longtime writing partner Lincoln Child—a shining example of what it means to write in collaboration. In all, Preston has published 39 books of fiction and non-fiction. In addition to books, Preston writes about archaeology and paleontology for the New Yorker. He has worked as an editor for the American Museum of Natural History in New York City and taught nonfiction writing at Princeton University and is the recipient of numerous writing awards in the U.S. and Europe. He served as president of the Authors Guild from 2019 to 2023. Set in a Lower East Side tenement in the early days of the COVID-19 lockdowns, Fourteen Days turns on a narrative frame written by Preston, with contributions from a disparate collection of contemporary writers, headed by fellow project editor Margaret Atwood. In addition to Atwood and Preston, the novel features the “voices” of Charlie Jane Anders, Joseph Cassara, Jennine Capó Crucet, Angie Cruz, Pat Cummings, Sylvia Day, Emma Donoghue, Dave Eggers, Diana Gabaldon, Tess Gerritsen, John Grisham, Maria Hinojosa, Mira Jacob, Erica Jong, CJ Lyons, Celeste Ng, Tommy Orange, Mary Pope Osborne, Alice Randall, Ishmael Reed, Roxana Robinson, Nelly Rosario, James Shapiro, Hampton Sides, R.L. Stine, Nafissa Thompson-Spires, Monique Truong, Scott Turow, Luis Alberto Urrea, Rachel Vail, Weike Wang, Caroline Randall Williams, De'Shawn Charles Winslow, and Meg Wolitzer. All proceeds from the book will be directed to the Authors Guild Foundation, the charitable and educational arm of the Authors Guild, dedicated to empowering all writers, from all backgrounds, at all stages of their careers. Learn more about Douglas Preston: Author's Guild Author's Guild Foundation Instagram Facebook Preston & Child website The Lost Time: And Other Real-Life Stories of Bones, Burials, and Murder Please support the sponsors who support our show: Daniel Paisner's Balloon Dog Daniel Paisner's SHOW: The Making and Unmaking of a Network Television Pilot Unforgiving: Lessons from the Fall by Lindsey Jacobellis Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership Film Freaks Forever! podcast, hosted by Mark Jordan Legan and Phoef Sutton A Mighty Blaze podcast The Writer's Bone Podcast Network Misfits Market (WRITERSBONE) | $15 off your first order Film Movement Plus (PODCAST) | 30% discount Wizard Pins (WRITERSBONE) | 20% discount
Playwright, author, and poet Ishmael Reed's new play, "The Shine Challenge, 2024," gives animals a voice in the fight for justice. Shine is a black man said to have survived the Titanic in 1912. But he's accused of sinking the ship and put on trial. Who saves the African American Shine? The animals. Specifically, a polar bear and a shark. It's surreal, satirical, and definitely an anti-speciesist work of art. Get a ticket to a private link to watch a pre-recorded live reading. You'll have access to unlimited viewing until March 15, 2024. https://ci.ovationtix.com/35133/production/1191624?performanceId=11425268 The PETA Podcast PETA, the world's largest animal rights organization, is 9 million strong and growing. This is the place to find out why. Hear from insiders, thought leaders, activists, investigators, politicians, and others why animals need more than kindness—they have the right not to be abused or exploited in any way. Hosted by Emil Guillermo. Powered by PETA activism. Contact us at PETA.org. Music provided by CarbonWorks. Go to Apple podcasts and subscribe. Contact and follow host Emil Guillermo on Twitter @emilamok Or at www.amok.com Get the podcast on YouTube. www.YouTube.com/@emilamok1 Please subscribe, rate, and review wherever you get your podcasts. Thanks for listening to THE PETA PODCAST! Originally released Feb.20, 2024. ©PETA, Emil Guillermo 2024
Ishmael Reed is the author of the play The Slave Who Loved Caviar, now available in print from Archway Editions. Ishmael Reed is the author of over twenty-five books including Mumbo Jumbo, Yellow Back Radio Broke-Down, Conjugating Hindi, Why No Confederate Statues in Mexico and most recently Malcolm and Me and Why the Black Hole Sings the Blues. He is also a publisher, television producer, songwriter, radio and television commentator, lecturer, and has long been devoted to exploring an alternative black aesthetic: the trickster tradition, or Neo-Hoodooism. A regular contributor to CounterPunch and founder of the Before Columbus Foundation, he taught at the University of California, Berkeley for over thirty years, retiring in 2005. Reed is the only person to be nominated for the National Book Award in two categories in the same year. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices
The author Ishmael Reed is known as a major force in literature and has been called one of the key thinkers of multiculturalism. Born in 1938, Reed arrived with a bang in 1972 with Mumbo Jumbo, a vibrant, hard-to-describe novel that blends real historical events with outrageous fantasy, about a plague of dancing that breaks out, spread by Black artists and musicians, and a shadowy international conspiracy to contain its disruptive power. Reed's storied career has included novels, essays, and polemics, as well as plays. And he has recently come out with a work for the stage that looks at how we tell the story of another giant of the late 20th century: Jean-Michel Basquiat. Basquiat is today among the most widely known painters, and his life story is almost as famous as his art itself. He burst into the spotlight in the early ‘80s, first as a savvy street artist and then with his vibrant style of painting. By 1985, he was on the cover of the New York Times Magazine, the symbol of the 1980s art boom. By the end of the decade, he was dead of an overdose of heroin, at the age of 27. Reed's play, titled The Slave Who Loved Caviar, is sharply critical of how Basquiat's story gets told as one of self-destruction instead of exploitation. It homes in on Basquiat's famous relationship with the edler Andy Warhol, which has been told and retold, in the painter Julian Schnabel's famous 1996 film Basquiat, as well as more recently Anthony McCarten's Broadway play, The Collaboration, soon to be a film, and in many other places. Like Mumbo Jumbo, The Slave Who Loved Caviar tackles the serious subject of how Black culture is treated in society, in a fantastic way. It features police investigators literarily reviewing the evidence that the white art world failed Basquiat. But it also has a Vampire aristocrat character, depicted as a present-day, Andy Warhol-like figure out to collaborate with a young Black artist, who goes by the name Young Blood. The play was performed in 2021 and 2022 at the Theater for the New City. It has just been published in a text by Archway Editions, with a forward and afterward where Reed responds to some of the criticism his take on Basquiat's story stirred up then. This week on the podcast, Reed joins Artnet's chief art critic Ben Davis to discuss his work.
The author Ishmael Reed is known as a major force in literature and has been called one of the key thinkers of multiculturalism. Born in 1938, Reed arrived with a bang in 1972 with Mumbo Jumbo, a vibrant, hard-to-describe novel that blends real historical events with outrageous fantasy, about a plague of dancing that breaks out, spread by Black artists and musicians, and a shadowy international conspiracy to contain its disruptive power. Reed's storied career has included novels, essays, and polemics, as well as plays. And he has recently come out with a work for the stage that looks at how we tell the story of another giant of the late 20th century: Jean-Michel Basquiat. Basquiat is today among the most widely known painters, and his life story is almost as famous as his art itself. He burst into the spotlight in the early ‘80s, first as a savvy street artist and then with his vibrant style of painting. By 1985, he was on the cover of the New York Times Magazine, the symbol of the 1980s art boom. By the end of the decade, he was dead of an overdose of heroin, at the age of 27. Reed's play, titled The Slave Who Loved Caviar, is sharply critical of how Basquiat's story gets told as one of self-destruction instead of exploitation. It homes in on Basquiat's famous relationship with the edler Andy Warhol, which has been told and retold, in the painter Julian Schnabel's famous 1996 film Basquiat, as well as more recently Anthony McCarten's Broadway play, The Collaboration, soon to be a film, and in many other places. Like Mumbo Jumbo, The Slave Who Loved Caviar tackles the serious subject of how Black culture is treated in society, in a fantastic way. It features police investigators literarily reviewing the evidence that the white art world failed Basquiat. But it also has a Vampire aristocrat character, depicted as a present-day, Andy Warhol-like figure out to collaborate with a young Black artist, who goes by the name Young Blood. The play was performed in 2021 and 2022 at the Theater for the New City. It has just been published in a text by Archway Editions, with a forward and afterward where Reed responds to some of the criticism his take on Basquiat's story stirred up then. This week on the podcast, Reed joins Artnet's chief art critic Ben Davis to discuss his work.
Roxi Power talks with Brenda Hillman, winner this month of the Northern California Book Reviewers' Fred Cody Award for Lifetime Achievement, about her 11th book of poetry with Wesleyan University Press, In a Few Minutes Before Later. We discuss her new trans-genre tetralogy about time: how to find calm during the Anthropocene by being in time in multiple ways: sinking into the micro-minutes; performing micro-activism; and celebrating the microbiome. We explore her influences–from Blake to Bergson, Clare to Baudelaire, as well as the less celebrated moss, owls, and wood rats that appear frequently in her eco-poetry. Alive with humor, witness, creative design and punctuation–what Forrest Gander calls “typographical expressionism”--Hillman's poetry teaches us how to abide in crisis from Covid to California fires, living in paradox as a way to transcend despair. Brenda Hillman shares the Fred Cody Lifetime Achievement Award with with Isabel Allende, Daniel Ellsberg, Michael Pollan, Ishmael Reed, Gary Snyder, Robert Duncan, Alice Walker and others. Winner of the William Carlos Williams Prize, the Los Angeles Times Book Award, the International Griffin Poetry Prize (for Seasonal Works with Letters on Fire, 2013), the Northern California Book Award (for Extra Hidden Life, among the Days, 2018) and fellowships from the Guggenheim Foundation and the Academy of American Poets, Brenda Hillman was born in Tucson, Arizona and has been an active part of the Bay Area literary community since 1975. She has edited an edition of Emily Dickinson's poems for Shambhala Press, and co-edited and co-translated several books. She is director of the Poetry Program at the Community of Writers in Olympic Valley and is on the regular poetry staff ad Napa Valley Writers Conference. Hillman just retired from teaching in the MFA Program at St. Mary's College in Moraga, CA. She has worked as an activist for social and environmental justice. She is a mother, grandmother, and is married to poet, Robert Hass. Photograph by Robert Hass.
To help celebrate Filipino American History month, I've got special guest, author, Tamiko Nimura on the show! Yay! It's easy to forget that we are spirit souls having a human experience. We get wrapped up in what our eyes see and the crazy scrawl our minds make in our heads. In this week's episode, I want to shine a light on things we don't often see or pay attention to. Today I sit down with author Tamiko Nimura to talk about the (invisible) writing process (often, readers think that we poop out perfect books! Haha), how yoga can be the bridge between the physical and emotional/spiritual experience of being a human, and what it means to be an activist (hint: it's not just marching in rallies). Listen in on this conversation that highlights how times of intense distress can foster the creation of new, surprising things (like a spontaneous course on civil rights!) and how we can reconnect with our inner selves (hint: it's yoga - haha!). About Tamiko Nimura: Tamiko Nimura is an Asian American creative nonfiction writer living in Tacoma, Washington. She has degrees in English from UC Berkeley (BA) and the University of Washington, Seattle (MA, PhD). Her poems, essays and interviews have appeared in the San Francisco Chronicle, Off Assignment, Narratively, The Rumpus, Full Grown People, Heron Tree, HYPHEN, Kartika Review, and Blue Cactus Press. She has essays in the anthologies Ghosts of Seattle Past (2018) and New California Writing (Heyday 2012). At UC Berkeley, she studied creative writing with Ishmael Reed and Gary Soto. She has read at the Looseleaf Reading series (Seattle), King's Books and Blue Cactus Press (Tacoma), and the San Francisco Public Library. She is a 2016 Artists Up grant recipient and a 2019 GAP Award recipient. She has been awarded a Tacoma Arts Commission Tacoma Artists Initiative Project grant (2021-22) for her memoir-in-progress, A PLACE FOR WHAT WE LOSE. She was also awarded an AMOCAT Community Engagement Award for her artistic and community work in 2022. *** Today's poems/ Books / Oracle / Tarot Cards mentioned: Oracle Card: Earthed Poem: “A Litany First Revival” by Audrey Allard Courses / Exclusive Content / Book Mentioned: Subscribe to “Adventures in Midlife” newsletter: leslieann.substack.com Tamiko Nimura Website: https://www.tamikonimura.net/
Frank Abe is co-author of the new graphic novel on Japanese American resistance to wartime incarceration, We Hereby Refuse (Chin Music Press: A Wing Luke Museum Book). He won an American Book Award for John Okada: The Life & Rediscovered Work of the Author of No-No Boy (University of Washington Press), and made the award-winning PBS documentary, Conscience and the Constitution, on the largest organized camp resistance. He is currently co-editing an anthology for Penguin Classics on The Literature of Japanese American Incarceration.Abe contributed the afterword to Nisei Naysayer: The Memoir of Militant Japanese American Journalist Jimmie Omura (Stanford University Press), contributed a chapter to Frontiers of Asian American Studies (Washington State University Press), and has written for Ishmael Reed's Konch, The Bloomsbury Review, Case Western Reserve Law Review, Amerasia Journal, International Examiner, Nichi Bei Weekly, Rafu Shimpo, and Pacific Citizen, among others.Medium History explores memories and moments through creativity and expression, capturing the cultural ethos of that time and place through storytelling and representation. Visual material culture, such as art, and other multimodal forms can elicit responses, emotions, and opinions—human expressions, tied to temporal and cultural aesthetics. This program explores how creative mediums provide context for history beyond dates, and names, and figures.Partnering with Wilkinson College of Arts, Humanities, and Social Sciences at Chapman University, this series will explore how comics, comic books, and graphic novels from and about the Japanese American Incarceration following Executive Order 9066, humanize the tragic experience, allowing the stories to live long past the lives of those who experienced it, and ensuring this never happens again. Supported by the California Civil Liberties Public Education Program, a state-funded grant project of the California State Library, this series is designed to be a companion to the interactive web project, Images and Imaginings of Internment: Comics and Illustrations of Camp.Guest: Frank AbeHosts: Jon-Barrett IngelsProduced by: Past Forward
As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. 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
As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. 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
As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history
As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
As I learned from Hollis Robbins's monograph Forms of Contention: Influence and the African American Sonnet Tradition (U Georgia Press, 2020), there has been a long-standing skepticism of the sonnet form among Black writers and literary critics. Langston Hughes wrote that “the Shakespearean sonnet would be no mold to express the life of Beale Street or Lenox Avenue.” Ishmael Reed condemned sonneteering, alongside ode-writing, as “the feeble pluckings of musky gentlemen and slaves of the metronome.” And yet African American poets such as Terrance Hayes and Natasha Trethewey continue to contribute to a tradition of sonnet-writing that includes Robert Hayden, Phyllis Wheatley, Rita Dove, Amiri Baraka, and James Corrothers. Today's guest is Hollis Robbins, the author of Forms of Contention, published with the University of Georgia Press in 2020. Hollis is the Dean of Humanities at the University of Utah. Previously, she served as Dean of Arts and Humanities at Sonoma State University, Professor of Humanities at the Peabody Institute at Johns Hopkins University, and Professor of English at Millsaps College. Hollis is also the co-editor of a number of field-defining books including The Portable Nineteenth Century African American Women Writers (Penguin, 2017); The Annotated Uncle Tom's Cabin (Norton, 2006); and the Works of William Wells Brown (Oxford University Press, 2006). Forms of Contention tests the premise that a literary form such as the sonnet can both offer opportunities for reimagining society and politics and pose perils of constraint. This book captures the complexity and longevity of a vibrant tradition of Black poets taking up the sonnet form to explore race, liberation, enslavement, solidarity, and abolitionism. It also invites us to find new directions for the intersection of literary formalism and African American cultural studies. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry
Ari Mokdad and Frank Abe discuss the poignant ways that their respective family histories have played significantly into the themes and approaches of their work. Both residents discuss their range in processes to screenwriting, poetry, and the multiple disciplines they’ve each engaged with over their careers. Frank Abe Frank Abe has worked to reframe the public’s understanding of the WW2 incarceration of Japanese Americans ever since helping create the first Day of Remembrance for the camps in the campaign for redress and reparations. He is co-author of a new graphic novel, “WE HEREBY REFUSE: Japanese American Resistance to Wartime Incarceration” (Chin Music Press, 2021) and wrote and directed the award-winning documentary “Conscience and the Constitution” (PBS, 2000) on the largest organized resistance to the camps. He won an American Book Award as co-editor of “JOHN OKADA: The Life & Rediscovered Work of the Author of No-No Boy” (University of Washington Press, 2018) and is currently co-editing a new anthology of camp literature for Penguin Classics. For his Centrum residency he will be working on a project to to bring those stories to the stage. He’s contributed to Ishmael Reed’s Konch Magazine, The Bloomsbury Review, and others, and is a past attendee of the Port Townsend Writers Conference. He blogs at Resisters.com. Ari L Mokdad Ari L Mokdad is a Detroit-born poet, choreographer, dancer, and performance artist. She is a first-generation American and daughter of Lebanese immigrants. Ari graduated from Grand Valley State University with a BA in Dance, English, and Writing. She received an MA in English from Wayne State University and is currently completing her MFA at Warren Wilson College. Ari’s creative work coalesces around nature, identity, place, and embodiment. She is an active naturalist and maintains an apiary, greenhouse, and heirloom garden. Ari lives with her partner in Northern Michigan on the ancestral and unceded land of the Ojibwe, Odawa, and Pottawatomie people, The People of the Three Fires.
Counter-agent for the avant-garde Adam Lehrer returns as our special guest star to discuss his latest release from Morbid Books, Safety Propaganda: Conceptual Manifesto for Psychological Warfare. We also talk about creative ambition and getting out of the underground ghetto, gladiators, what makes Miike's new series Connect kinda mid, the social climate shift in the entertainment industry, Kanye West, the J word, responsibility and cultural influence, cancellations that didn't stick, Apophenia, the return to liking things in public, Harmony Korine, the importance of humor in transgressive art, Ishmael Reed, Darius James's Negrophobia, refusal to apologize for avant-garde hate-mongering, Ottessa Moshfegh's Lapvona, Bruce Wagner's Roar, how the masses received Adam talking with Billy Corgan, online writing, steroids, angelicism01, and the LARPing of aloofness. Full episode on patreon.com/agitator. Links: System of Systems Safety Propaganda
Today we have filmmaker and co-host of the Movies Podcast, Lowres Wunderbread on to talk about 2005's Meatball Machine and 2017's Meatball Machine: Kodoku. We talk the 4-hour Mass State Lottery cut, eating pheasants, what makes a movie good, the process of filmmaking, improvising in creativity, the plastic surgery theory of art, monsters fighting to create energy drinks, Power Rangers fight scenes, the Grindhouse revival, recognizing actors, mustache growth, eating bacon, five minutes of boobs, Japanese weirdness, radiation is fake, creepypastas, the Meatball Machine short film, the rule of thirds, the history of Tetsuo: The Iron Man, Kelby investigates a shooting, riding a motorcycle man, Kelby's college story, doing ads, Cartoon Network shows, Kenya Boy, Lex Fridman sucks, right wing pundits are stupid, and Mumbo Jumbo by Ishmael Reed.
This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. We continue our discussion with members of the cast in Ishmael Reed's latest play, "The Conductor," directed by Carla Blank, is a play in two acts. It has four (4) virtual live streamed readings this week, Thursday-Sunday, October 13-16 at Theater for the New City, https://theaterforthenewcity.net/shows/the-conductor/ When: Thursday Oct. 13, Friday Oct.14, Saturday Oct.15 at 8:00 pm & Sunday Oct. 16 matinee at 3:00 pm; Tickets $18.00; Phone 212-254-1109 Cast for The Conductor readings includes Emil Guillermo, Imran Javaid, Tennessee Reed, Laura Robards, Monisha Shiva, Brian Simmons, and Kenya Wilson. Joining us today are: Imran Javaid, Laura Robards, Monisha Shiva, and Kenya Wilson. 2. Mildred Inez Lewis, playwright, joins us to talk about the world premiere of her homage to George C. Wolfe, "The Museum Annex," directed by Elizabeth Carter, at Central Works in Berkeley, Oct. 15-Nov. 13 Visit http://centralworks.org/the-womens-annex/
This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. We speak to Ishmael Reed, playwright, and Emil Guillermo, actor as (Gabriel Noitallde), and Carla Blank, director, about Reed's latest work "The Conductor", a play, in 2 acts, performed October 13-15, in 4 live streamed virtual readings. Visit https://theaterforthenewcity.net/shows/the-conductor/
The New Yorker called Ishmael Reed "a founding father of American multiculturalism," and "America's most fearless satirist." A colleague at The University of California, where he taught for 35 years, said he "is probably our most prolific faculty member." This year, the multilingual poet, publisher, novelist, playwright, cartoonist, and lyricist, becomes a lifetime achievement award recipient from the Anisfield Wolf Book Awards.rnrnBorn in Chattanooga in 1938, Reed spent most of his younger years in Buffalo, New York, working for the legendary black newspaper The Empire Star, first as a delivery boy and eventually as a jazz columnist. In the 1960s, he began writing novels, first "The Freelance Pallbearers" and then the novel for which he became most well known, "Mumbo Jumbo."rnrnA tireless artist, critic, and iconoclast, Reed received a MacArthur Genius grant in 1998 and made national headlines in recent years with the play "The Haunting of Lin Manuel Miranda," which took the Hamilton writer to task for glossing over the hypocrisy of the founding father's anti-slavery stance.rnrnReed is a kind of "if you know, you know" award recipient. To many, this makes perfect sense. And if you don't yet know, you should. Join us in-person at the City Club as we hear from the 2022 Anisfield-Wolf Book Award Lifetime Achievement winner.
Author Ishmael Reed is the 2022 Anisfield-Wolf Book Award Lifetime Achievement winner. Detailed show notes at https://www.ideastream.org/programs/city-club-forum/life-and-literature-of-americas-most-fearless-satirist-ishmael-reed.
Wamuwi Mbao asks Julian Lucas about the role of the critic, the value of criticism, working outside the academy, his writing process and what he's reading next. Wamuwi Mbao is a literary critic with the Johannesburg Review of Books. He is editor of the collection Years of Fire and Ash: Poetry of Decolonization (Jonathan Ball Publishers, 2021) and lectures in English literary studies at Stellenbosch University. Julian Lucas is a staff writer at The New Yorker. His essays and criticism focus on the representation of history in art, literature, games, and music. His writing on contemporary culture has included profiles of artists and writers such as El Anatsui and Ishmael Reed as well as features on historical re-enactment. He was a finalist for the 2020–2021 Nona Balakian Citation for Excellence in Reviewing. In this episode we stand in solidarity with Aliaksandr Fiaduta, a writer, editor, journalist, political analyst, and literary critic from Belarus. You can read more about his case here: https://pen-international.org/news/belarus-concerns-detention-aliaksandr-fiaduta This podcast series is funded by a grant from the U.S. Embassy in South Africa.
Join us for a celebration of the winners of the 91st annual California Book Awards! Since 1931, the California Book Awards have honored the exceptional literary merit of California writers and publishers. Each year a select jury considers hundreds of books from around the state in search of the very best in literary achievement. Over its 90 years, the California Book Awards have honored the writers who have come to define California to the world. Among them are John Steinbeck, Wallace Stegner, MFK Fisher, Thom Gunn, Richard Rodriquez, Lawrence Ferlinghetti, Joan Didion, Ishmael Reed, and Amy Tan. Recent award winners include Hector Tobar, Viet Thanh Nguyen, Susan Orlean, Rachel Kushner, Rachel Khong, Tommy Orange, Morgan Parker and Steph Cha. This year's winners include: GOLD MEDALS FICTION The Archer, Shruti Swamy, Algonquin Books, an imprint of Workman Publishing, Hachette Book Group FIRST FICTION Skinship, Yoon Choi, Alfred A. Knopf NONFICTION Paradise: One Town's Struggle to Survive an American Wildfire, Lizzie Johnson, Crown JUVENILE Wishes, Mượn Thị Văn and Victo Ngai, Orchard Books, an imprint of Scholastic Inc YOUNG ADULT Home Is Not a Country, Safia Elhillo, Make Me a World POETRY Refractive Africa, Will Alexander, New Directions CALIFORNIANA Everything Now: Lessons from the City-State of Los Angeles, Rosecrans Baldwin, MCD, an imprint of Farrer, Straus & Giroux CONTRIBUTION TO PUBLISHING A Rebel's Outcry, Naomi Hirahara, Little Tokyo Historical Society SILVER MEDALS FICTION The Committed, Viet Thanh Nguyen, Grove Atlantic FIRST FICTION City of a Thousand Gates, Rebecca Sacks, Harper, an imprint of HarperCollins Publishers NONFICTION Light on Fire: The Art and Life of Sam Francis, Gabrielle Selz, University of California Press SPEAKERS Peter Fish California Book Awards Jury Chair Sarah Rosenthal California Book Awards Juror Rosalind Chang California Book Awards Juror In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on June 6th, 2022 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices
Today, we're taking a trip to Berkeley, California, to talk to my favorite kind of trouble: Kate Sassoon, or as we call her: Sassy. Sassy has spent most of her life living in or working with co-ops. We talked about the role of stakeholder capitalism and global cooperativism and how both models help us rethink the current system. Sassy also shares what she learned from going undercover in Silicon Valley and what's going on under the hood of cooperatives.Kate “Sassy" Sassoon has spent over 20 years turning her passion for efficiency, effectiveness, and equity into a thriving consultancy offering facilitation, training, and organizational design to social enterprise organizations. She develops inclusive collaboration frameworks, energetic dialogue spaces, and authentic connections. Her work is known for being joyous, empowering, and deeply caring. She brings all that energy and a lifetime of experience with co-ops to the role of Director of Cooperative Membership at Zebras Unite Co-op. She holds 2 degrees from UC Berkeley - one in art and one in science, and approaches the world (and the work) with one foot firmly in each. She delights in deep questions, unexpected connections, and doing well by doing good. Listen to the full episode to hear: Why our capitalist norms of extraction and power concentration hinder our ability to imagine new mutualistic systems How stakeholder capitalism helps us bring more people to the table and recenter those who are most impacted What Silicon Valley can teach us about the power of narrative How the challenges in building cooperative companies that can make them more sustainable in the long-term Steps to take to actively engage with cooperatives in your sphere Learn More About Kate "Sassy" Sassoon: Sassy Facilitation Facebook: @KSassoon Learn More About Anika Horn: Website: www.socialventurers.com Instagram: SocialVenturers Newsletter: Sign up for Impact Curator Resources: "Zebras Fix What Unicorns Break" Rochdale Pioneers Mondragon corporation International Cooperative Alliance California center for cooperative development Zebras Unite N.K. Jemisin The Sharing Solution The Culture Map: Breaking Through the Invisible Boundaries of Global Business, Erin Meyer For All the People: Uncovering the Hidden History of Cooperation, Cooperative Movements, and Communalism in America, John Curl and Ishmael Reed
“If you aren't writing your story in America, your story is being written for you. And if you're not telling your story, your story is being told to you….I was able to create my own superhero origin story when I was 10 years old.” Left-handed, lactose intolerant, wisecracking Wajahat Ali joins us on the show to talk about his first book, Go Back to Where You Came From, growing up brown and Muslim in the Bay Area, his parents' time in jail, trading his law degree for the writer's life, becoming a playwright with help from Ishmael Reed (and what Toni Morrison said to him after Ishmael Reed introduced them) and more in this very funny and fast-moving episode. Featured Book: Go Back to Where You Came From by Wajahat Ali. Poured Over is produced and hosted by Miwa Messer, edited by David Eitel and engineered by Harry Liang. Follow us here for new episodes Tuesdays and Thursdays (with occasional bonus episodes on Saturdays). [1:40 PM] Miwa Messer Elani/Chris - just fixed a typo (follow us not follow up)
The last five years highlighted the racism, xenophobia, and islamophobia which exists in American society—but it didn't start then. In his new book Go Back to Where You Came From And Other Helpful Recommendations on How to Become American, my guest Wajahat Ali takes a clear-eyed and very funny look at this dark part of our American identity. "Wajahat Ali's deeply personal and keenly perceptive memoir is a clear-eyed account of his American immigrant experience.… We are all fortunate to be on the receiving end of not only his intellect, but his humanity and heart." ― Katie Couric, Emmy Award-winning journalist "This is the book I've been hoping Wajahat Ali would write for ten years―hilarious, stylistically fearless, deeply humane." ― Dave Eggers, author of The Every "Wajahat Ali has already proven that he is the fastest mind on TV. Now his fans can sample his brilliance on the page." ― Ishmael Reed, author of The Terrible Fours "This book is a tour de force―equal parts tragedy and laugh-out-loud comedy. With brazen wit, rigorous analysis, and searing insight, Wajahat Ali speaks to the first-generation American's dilemma of being both ‘us' and ‘them.'" ― Suleika Jaouad, author of Between Two Kingdoms "A hilarious and heartwarming treatise on what it truly means to be American in the twenty-first century. You'll be laughing so hard you won't even notice the inevitable Islamic takeover of America! Oops, I've said too much." ― Reza Aslan, author of God: A Human History "Wajahat Ali brilliantly and lovingly unpacks the complicated history and urgent lived experience of being otherized in America.… [A] rich feast for all the senses―a must-read." ― S. E. Cupp, author of Losing Our Religion "This powerful and moving book is, at its heart, a love story. The beloved, flawed and tragic -- so flawed, so tragic -- is America. The lover's hope is always undermined. And yet his hope somehow endures." ― Mohsin Hamid, author of Exit West "Find a place on your bookshelf between Mark Twain and James Baldwin. Read this book before putting it there." ― Timothy Snyder, author of On Tyranny "With wit and charm, Ali has delivered a masterful meditation on growing up brown in America...An intoxicating rejection of cynicism in the face of existential threats to multiracial democracy, and a clear-eyed call to arms against the forces seeking to stop the expansion of American democracy. An affirmation of the country America could be." ― Mara Gay, editorial board, New York Times "In prose at times hilarious and at other times deeply moving, Wajahat Ali chronicles a uniquely American experience. All will benefit from reading his story." ― Representative Ilhan Omar "Full of wisdom and compassion, not to mention Ali's signature humor. As educational as it is entertaining. I wish my nine-year-old immigrant self had this book when the playground kids were telling me to go back where I came from.”" ― Gary Shteyngart, author of Our Country Friends "A tender knife-sharp analysis of racism . . . personal, painful, familial, and global" ― Juan Felipe Herrera, United States Poet Laureate Emeritus --This text refers to the hardcover edition. --- Send in a voice message: https://anchor.fm/alyssa-milano-sorry-not-sorry/message
This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! Today we speak to members of the cast for Ishmael Reed's The Slave Who Loved Caviar, up through Jan. 9 at The Theater for The New City in New York. It is also streaming live. Tickets are just $10+ small fee. For in person and virtual tickets visit https://ci.ovationtix.com/35441/production/1091241 Shows are Thurday, Friday, Sat. 8 PM ET (5 PT) and Sunday at 3 PM ET (12 noon PT). Closes Jan. 9. Guests include: Jesse Bueno, Robert Turner,Kenya Wilson, Laura Robards, Roz Fox, Brian Anthony Simmons, Monisha Shiva (about 9:30 am pst), and possibly Ishmael Reed. 2. Wadada Leo Smith 10/21
Christian J. Collier is a Black, Southern writer, arts organizer, and teaching artist who resides in Chattanooga, TN. A 2015 Loft Spoken Word Immersion Fellow, he is also the winner of the 2020 ProForma Contest and the 2019-2020 Seven Hills Review Poetry Contest. He is an accomplished artist, public speaker, and educator who has shared the stage with several members of HBO's Def Poetry cast, legendary poet and activist Ishmael Reed, Grammy-nominated artist Minton Sparks, Rock & Roll Hall of Fame members The Impressions, etc. Mr. Collier has also given a TED Talk and been featured on an episode of TNT's State Farm Neighborhood Sessions. Christian J. Collier's poems of witness have the kind of keen insight that slices to the heart of the subject. The Gleaming of the Blade examines Black masculinity in the contemporary American South, alongside the lingering ghosts of the past, and how it feels to be Black in a country whose divisions and struggles could signal the end of civilization. These poems never shy away, interrogating harsh injustices and contending with the truth of today's America, a truth sometimes beautiful, sometimes biting.
We are approaching the 40th anniversary of The Color Purple, a novel that garnered critical acclaim, won Alice Walker the Pulitzer Prize for fiction, and brought her sudden literary scrutiny. Both the book and its subsequent feature film adaptation elicited a flurry of criticism, frequently from within the Black community.Accused of reinforcing stereotypes of Black men as inherently violent, Walker was viewed by some as a race traitor. And for reasons that include depictions of rape, incest, homosexuality, violence and explicit language, The Color Purple has consistently remained on the American Library Association’s list of frequently challenged and banned books over the years.Host Amna Khalid speaks with Ms. Walker about what it’s been like to experience a kind of “cancellation” repeatedly throughout her career.* FULL TRANSCRIPT *AMNA KHALID: We’re approaching the 40th anniversary of The Color Purple, the novel that earned Alice Walker the Pulitzer Prize for fiction, making her the first Black woman to receive the award. Shortly after, it was adapted into a feature film by Steven Spielberg, which was nominated for 11 Academy Awards and 4 Golden Globes. The success of the book and then the film arguably made Alice Walker a household name.And yet it also opened her up to some of the harshest criticism of her career. For her use of a Black dialect, her portrayal of Black men and her depiction of same-sex love between women, Walker was excoriated from within the Black community. Many said she was trading in racist stereotypes of Black men as violent rapists. Ishmael Reed, an African American and another giant in the literary world, was incensed, almost personally offended, by Walker’s rendering of Black men in the novel: REED: You look at The Color Purple, you would think that the incest and all the people committing incest and committing rape are Black men. This is not true. Alice Walker said Black men are evil. She said they’re more evil than White men because White men are aware of their evil.AK: When the film was released in 1985, the Coalition Against Black Exploitation protested outside the premier in Los Angeles. Vernon Jarrett, an African American columnist for the Chicago Sun Times, was one of many who were critical of the movie’s portrayal of Black men:JARRETT: If it had been a story of Israel, would the Jews have permitted a movie to be made where every single male character was either a rapist, an incest perpetrator, a beast, or even dumb?AK: The fact that Walker had allowed Spielberg — a White, Jewish man — to adapt the novel for the big screen led many to view her as a race traitor. Here, speaking at the time, is Louis Farrakhan, Leader of the Nation of Islam:FARRAKHAN: He uses her, Whoopi Goldberg. She plays her part so well — I’m telling you — she may win an Oscar for that role. But not just because of her acting ability; but she wins an Oscar in the eyes of White folk because she aids in proving the point that the Black man is a dog. And as long as the Black man remains a dog, you cannot rise, therefore he cannot fall: The Color Purple. AK: Joining us now to discuss censorship, cancelation and the relationship between society and the artist is the author of The Color Purple, Alice Walker. Ms. Walker, thank you so much for your time. ALICE WALKER: Absolutely. AK: The Color Purple and the response that you received to both the book and then the movie and the musical in many ways presaged for us the current moment that we're in and the kind of politics around cultural representation, around art and the role of art, and also around who gets to speak and who gets to tell the story, who does it belong to. And I cannot think of a better person to reflect on our moment today, when everyone is being canceled left, right and center, because there is this objection to how they're presenting things, I can't think of a better person than you to reflect on our moment in light of the experience that you had when The Color Purple came out. AW: Well, you know, it’s not a pleasant feeling to be attacked for expressing the truth of your life, basically. This is how I, at the time, wanted to share what I understood of reality. And it was actually surprising and in some ways shocking that people were so afraid of it, and I understood that that was part of it, that they were really afraid. They were afraid of their own feelings where women loving women are concerned. They were really afraid when I said the God of the Bible was not the one that was interesting to me. So, I just basically bore it and lived my life outside of a lot of the controversy which went on for years.AK: Can I ask you a little bit about some of the responses that you've received to your work and what were you not anticipating and that you were shocked to see?AW: I was surprised that people didn't understand the compassion I feel for Black men. It was so interesting, but then I realized that they didn't read the books and that helped. I said, “Oh, they didn't read them.” And I think that's true and that's unfortunate. AK: There seems to be the capacity in your characters to hold complexity, to simultaneously have done things which people might find morally reprehensible, but then also to be so much more than that.AW: I see them as very human, and I don't see them as different from any of the other men on the planet. I mean, the men who do bad things in my novels are the same men who do bad things in China. That's why when my book was published, I went to China, and it was a bestseller already. It was an underground bestseller. And I said to the people who invited me, “Well, why? How did this happen?” – Of course, they hadn’t told me they were selling it – And they said, “Well, it’s a very Chinese story.” And that has been true on every continent. It's been true everywhere we've sold this book, and that's why it's so long lasting. It's just people and how they behave given the structures that they've had to live under. AK: Ms. Walker, I'm originally from Pakistan and I first encountered your book while I was still there. And indeed, it has this way of speaking across boundaries, across barriers of race, because it's telling a story that is around us all and we see it. But there is a way in which I find that today's atmosphere, especially around judging who gets to speak and who gets to represent, is very focused, especially in the U.S., on race, almost exclusively on race to the detriment of class, gender and other ways in which oppression may be—through which they may be refracted. AW: I think that's deliberate. We have always been used as a scapegoat. We've always been used as the focus so that you don't notice all the other horrible things that are happening to you. You can always just say, “Oh, those poor Black people,” or, “Oh, those terrible Black people,” something about the Black people, and very often about the Black men, which is why the criticism that I was somehow hostile to Black men was just absurd. It's useful to the people who want to divide us, very useful. It was a way to actually divide Black men and Black women and it was a way to distract all the rest of the people on the planet from their disasters. So, they could all look at the Black people and say, “Oh my God, they're fighting again,” or, “She's saying this and they're saying that.” It’s a tactic. And I think most of us are used to it by now. AK: But what's interesting is that a lot of this response actually came from within the Black community. AW: Yeah. But what I'm saying is that that is what gets focused on by the mainstream. So, they would focus on that rather than on the fact that The Color Purpleis a theological work. It’s about God. I mean, it's about God, it's about do we believe this, that we've been force fed, or do we not? And if we don't, what is our sense of what God is? But if you spend all your time worrying about Black men and Black women fighting over whatever, you will never get to that subject, which is central. AK: It's also interesting to me that I see this huge contrast between how you tell your stories — right? – and what we're seeing today, which, like I said, not only focuses on race, but is extremely unforgiving. There is no room for people to be human. The expectation is that somehow we should all be superhuman, 100 percent pure.AW: It’s ridiculous. That makes me think of how they came down hard on Flannery O'Connor. Now, Flannery O'Connor was a racist most of her life, but she evolved. And if you take the position that people who are locked into racism or whatever and that they never evolve, then you just get rid of them and whatever they created, which means that you stunt yourself. You never grow yourself. That's the real issue here: that if you in your indignation, in your inability to allow other people to grow and to evolve, you will never grow and evolve yourself, there you’re stuck. So, you know, I recognize Flannery O'Connor was a racist. We lived across the highway from each other when I was a child. But I also grew up to read her work and to watch her evolve in her work. And that's all anybody can do. If you are brought up in a racist society or sexist society, all you can do basically is try to free yourself by any means necessary, by reading, by traveling, by listening, by thinking. That's what you do. And I think people who insist on—they took her name off of the building at some Catholic university in their rage that she wasn't perfect. But nobody is. And people are evolving. People can evolve. And if you don't give them that opportunity, all you're setting yourself up for is that nobody will give you the opportunity in the future. And I dread thinking about what will happen to these same people further along the line. AK: Where do you think it comes from: this unwillingness to allow change and evolution?AW: Fear. Many people on the planet now think of these as the last days. And most of the people who have been taught from the Bible that—that's what the Bible says: that there will be an end of times. And so many people see this time now as that end of time, and they are trying to, in a way, purify themselves by getting rid of what they see as the impure. Too bad, because the impure, quote, are often the people you need to teach you how to get through some of the roughest periods. And this is a rough one. AK: Earlier this year, Ms. Walker was invited to deliver a commencement address to the graduating class of Hudson Valley Community College in New York, but just days before the event the college suddenly withdrew the invitation. I asked her what happened.AW: Well, I was invited to this college in upstate New York, and I was ready to go. And I made a tape, like we’re doing. And then they decided that they didn't want me speaking to their graduating class. I mean, just a really frivolous charge: some book that I had on my nightstand was written by someone who was an anti-Semite, says, I guess, some anonymous person. And they canceled my talk to the students, which is terrible for the students. I mean, it hardly impacted me. I was, you know, sorry they missed my talk. But think of what that does to the students not to be able to hear from someone that they had wanted to hear from. I'm sure those students were the ones who decided they wanted to invite me to come and talk to them at their graduation. AK: Did they expressly say that it was this anonymous person who objected to a book?AW: Yeah, objected to a book that I had mentioned in The New York Times over a year ago. I mean, there was a flap then, too, because I was accused of being anti-Semitic myself, which is such an old trope. I mean, it's just ridiculous. I don't really spend a whole lot of time agonizing over any of this because people do have a right to their perceptions, but they twist things so that the world that we would like to have where people are feeling free and equal, that's not likely to happen with all of the canceling, all the cancelations. I just posted on my blog this morning, one of the most cancelled people on earth: Norman Finkelstein. And, you know, he's been called everything—as we say down South—but the child of God. And I think he's brilliant. What can we do about all of these things? We can continue to forward the thought and the action and the outrageousness and wonderfulness that we see. Like you're doing. I mean, this is what you do, this is how you move forward in the world what it is you would like to see. You know, more honesty, clarity, vision, not so much fragility and fear and backwardness, which is how I see a lot of this. It’s just backward. You can't really expect people or want people or hope for people not to know a reality that shaped them. AK: And where do you see things going if we keep going down this route?AW: Life has its own meaning, its own reason and its own reality. And so, this will play for a while, but it will not stand. I mean, even if it takes us all the way to, like, I don't know, Nazi Germany or some of the other horrible places that come to mind, we may well go through them, but there's something in the human spirit that just wants to know what happened. That's human. And we will always have that unless we're drugged into oblivion, which we might be, but, you know, until then, we will want to know. And that's one of the great things about being human beings: our curiosity. AK: What can we do at this moment to nurture that curiosity in the face of this onslaught of cancelation? I love what you're saying about curiosity and how that is so deeply hardwired into us. AW: Yeah, I mean, it's my guiding light. I mean, I'm curious. I want to know. And if my effort to know offends you, then just go somewhere else. Because, you know, I do have this right, it's innate. It's a human right to be curious. And I exercise that right as much as I can. And I love it and I don't intend to forsake it. AK: But I also sense hope in how you've presented it. You're convinced that this cannot last that long, that there is a way in which human curiosity will override these attempts to silence and to shut people down. AW: Human intelligence and curiosity. People really want to know. My books have been banned, they have been critiqued, a few of them have been burned, but I just trust that because I'm a human being that other human beings are more or less like me and they want to know. It’s just a natural thing that we have. And so, I never see this kind of activity as conclusive. Look at Germany, for instance. When you go to Germany now, people are still pretty much the way people are. They're reading, they're writing, they're going to school, they're riding bikes, they're living. In my opinion, it's possible that we need to go through this period to study it. I love study. And I think it would be really wonderful if more of us would just look at this as something to, if we have to, endure, something we will probably have to struggle to survive, but it's a lesson and we can get somewhere from there. AK: I love this angle that you're presenting, which is if we see this as a moment that is passing, much like those that have happened before, we can study it, and this is not that special. We as humans like to think we are in the most exceptional moment in history, which is so not the case. AW: I thought about this a long time, about what it actually means to be cancelled. What is the ultimate goal of cancelation? It’s interesting and it’ll help you understand economics in this world and in this country much better. You know, why people are poor and why people cancel people. A lot of it has to do with money, which is an angle that people often don't think about. They just think about something you said that people didn't like, something you wrote that they didn't want their children to see, blah blah blah, but actually it has a financial meaning. And that is something to be studied. AK: Could you say a little more about the financial meaning?AW: Well, cancellation, one of the underlying, or maybe the overlying — I mean, it’s very prominent actually — is that they hope to impoverish you. If they impoverish you, you are automatically canceled in your own agency, because what can you do? You have no money in a country where everything is money. And the example I give is of Billie Holiday, this recent movie where you can see what I'm talking about just really, really clearly. Why do they hound this woman to death, chain her to her hospital bed as she was dying? Why were they intent on not letting her have a cabaret card so she could make a living singing? She was a singer. OK? They wanted her to stop singing a particular song about lynching. She refused. And so, their response was basically to just kill her by making her poor or trying to make her poor, sick and all of that so that she couldn't function in society. And that is a real goal, and we should acknowledge it: that people who deal in cancelations of other people are deliberately trying to make them so poor, so impoverished, so weak that they have no agency in the culture. AK: It's ironic because it's all being done in the name of trying to give people agency, but what you're saying is that it's completely being undermined.AW: Give what people agency? They're not trying to give the cancelled people agency. They're trying to destroy their agency. I like very much when people remember that in this culture especially, but more and more in the world, it really is about who has the means to speak. I mean, if you're making four thousand dollars a semester or whatever as a subcontracted biology teacher or something, it's unlikely that you actually have the agency to speak, especially if you have children. So, the financial angle is really crucial for us to understand. And that is why some people, artists, especially in artists, for women and of color, but men who are of color and some poor White men artists, how you have to both do your work and also always consider how you're going to live. These are the parts of the structure of living in a racist, sexist, monetary society that you have to really analyze because otherwise it's always up here, it’s as if there's no foot, there's no foundation to the problem that you're discussing. AK: No, and indeed, the thrust of all these cancelations is precisely that: people are losing their jobs, people are losing their livelihoods, which then prevents them from—AW: —from speaking. It’s very cruel. And it says a lot about the culture that it would support this cruelty without acknowledging this part. You notice they will never really acknowledge that this is what they're doing.AK: Alice Walker, thank you so much. I appreciate how much time you have given. And before I go, may I just ask you one final thing, which is what do you see as the role of art in society? AW: A mirror. I read somewhere that art is the only mirror in which we can see our collective face. That's why we need it.AK: I’d like to conclude today’s episode by invoking the words of another great American writer, James Baldwin, on the role of the artist: “An artist is a sort of emotional or spiritual historian. His role is to make you realize the doom and glory of knowing who you are and what you are. He has to tell, because nobody else in the world can tell, what it is like to be alive. All I’ve ever wanted to do is tell that, I’m not trying to solve anybody’s problems, not even my own. I’m just trying to outline what the problems are. I want to be stretched, shook up, to overreach myself, and to make you feel that way too.”Banished is produced by Matthew Schwartz and Mike Vuolo. N'Dinga Gaba and Chris Mandra mixed the audio. A special thanks to Anika Jones for her help with this episode.This is Banished. I’m Amna Khalid.Further reading: Gifts of Spirit — Thoughts on Being Canceled by Alice Walker This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit banished.substack.com/subscribe
New Yorker Magazine July 26, 2021This week Yianni and Willie discuss Russian's fighting back, a disturbing experiment in Germany's past, and the satirist Ishmael Reed, plus all the bits and bobs along the way. So sit back and enjoy because we've got it!0:00 Cover by Christoph Niemann2:15 Mailbag2:47 The Talk of the Town12:08 Hope Against Hope by Masha Gessen19:43 Freezing by Paul Rudnick21:45 "Uncharted Maui" by R. Kikuo Johnson23:15 The Kentler Experiment by Rachel Aviv *Trigger warning: child sexual abuse*43:55 I Ain't Been Mean Enough by Julian Lucas58:48 Comic by William Haefeli59:21 Comic by Amy Hwang1:01:02 The Critics1:01:12 Beyond Tears by Alex Ross1:03:11 DL Recommends1:13:22 A challenging crossword puzzle by Kameron Austin CollinsFollow us on Twitter for the latest updatesYou can find Yianni on all good and evil social media apps @yiannisines and you can find Willie at williepage.com.
The Haunting of Lin-Manuel Miranda is a play by American writer Ishmael Reed. It critiques the acclaimed historical musical Hamilton (2015) through a depiction of a fictionalized version of Hamilton's creator Lin-Manuel Miranda, who is visited by several historical figures missing from the musical in a style similar to Charles Dickens' 1843 novella A Christmas Carol. The play echoes many critiques made by historians, such as the whitewashing of Alexander Hamilton.Venmo's: @jacob-santos-22 ; @rda956 ; @annika-pk
Show Notes and Links to Karla Brundage's Work On Episode 27, Pete is honored to speak with Karla Brundage, who he has been lucky enough to meet through Nervous Ghost Press and the virtual open mics that have coincided with the release of Writing for Life, an anthology in which Karla is featured. Karla Brundage is a Bay Area based poet, activist, and educator with a passion for social justice. Born in Berkeley, California, Karla spent most of her childhood in Hawaii where she developed a deep love of nature. She is the founder of West Oakland to West Africa Poetry Exchange (WO2WA), which has facilitated cross-cultural exchange between Oakland and West African poets. Karla is a board member of the Before Columbus Foundation, which provides recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. Her editorial experience includes a pan-Africanist WO2WA poetry collection, Our Spirits Carry Our Voices, published by Pacific Raven Press in 2020; Oakland Out Loud (2007); and Words Upon the Waters (2006) both by Jukebox Press. Her poetry book, Swallowing Watermelons, was published by Ishmael Reed Publishing Company in 2006. Her poetry, short stories and essays have been widely anthologized and can be found in Hip Mama, Literary Kitchen, Lotus Press, Bamboo Ridge Press, Vibe and Konch Literary Magazine. She holds an MA in Education from San Francisco State University and an MFA from Mills College. About her collection of poetry, Swallowing Watermelons, Ariel Gore, Editor Hip Mama Magazine, wrote, “Karla Brundage's poetic voice is just what the world needs now. She writes truths too often silenced—truths familiar and truths unheard. Lucky you if you are holding this volume. Open it and read on! It may be just what you need now.” West Oakland to West Africa: Connecting the African diaspora with creative writing Karla Brundage's Website 826 Valencia Website Karla Reads Five Poems at October 2nd, 2020 Event: “Voices of California” Through Tia Chucha's Bookstore and Centro Cultural Swallowing Watermelons, Karla's book of poetry-buy it here! Authors/Books Mentioned and Allusions Referenced During the Episode: Kwame Ture/Stokely Carmichael-at around 3:30 The Anderson Valley Advertiser, a place where Karla's father often published-at around 5:45 Sammy Younge Jr., first cousin of Karla's mother, and a tragic victim of Jim Crow racism-at around 9:14 Sammy Younge was first murder victim from SNCC-at around 9:30 Book about Sammy Younge, Jr., written by James Forman-at around 12:00 The Black Panthers and their Ten Point Program-at around 15:00 Danzy Senna, a writer who has inspired Karla-at around 16:00 Toni, Morrison, particularly her The Bluest Eye, as an inspiration for Karla: a writer who gave her “chills at will”-at around 18:50 Christopher Okigbo, a source of learning for Karla, particularly with his exploration of what it means to write in a colonial language-at around 20:30 Lawrence Mamiya, formative teacher in Karla's life-at around 20:30 The Autobiography of Malcolm X, a book that has “changed [Karla's] life”-at around 21:10 Ishmael Reed, “family friend and mentor” and publisher of Karla's Swallowing Watermelons-discussed at about 22:00 Karla's rec for an Ishmael Reed piece to read: Japanese by Spring-at about 23:00 Chinua Achebe and his contribution to the dialogue around writing in English about Africa-at around 23:45 Half of a Yellow Sun by Adichie -at around 25:30 Maya Angelou and her influence on Karla-at around 27:15 2019 Citizenship Order-Ghana orders citizenship to all Black Americans-at about 39:20 The Cool Origin Story and Incredible Growth of Nervous Ghost Press-at around 43:00 Shouts out to progressive and activist poetry greats, Kim Shuck and Tongo Eisen-Martin-at about 50:55 Karla reads “Underneath”-at about 58:00 Karla reads “Why do Black people Protest”-at about 1:03:10 “I am a man” allusion explained-at about 1:04:50 Karla explains the Buffalo Soldiers connection to her family-at about 1:05:15
Brugðið er á fóninn nokkrum dæmum um músík við texta ameríska ljóskáldsins Ishmael Reed. Hann er ríflega áttræður og hefur verið i fararbroddi afrísk amerískra ljóðskálda í sextíu ár.
In this 49-minute discussion, the Godfather of Multiculturalism Ishmael Reed discusses his writing (min. 7), his love of contagions and his just released book Conjugating Hindi (min. 10) and critical acclaim outside of the US (min. 17). He then continues regarding the establishment and the “space” for minority viewpoints, his thoughts on teaching (min. 35) relaxing (min. 39) and oral histories. Now entering his ninth decade without one hint of slowing down, Reed remains relevant across a number of art forms. BONUS POETRY READING: Ishmael reads three of his poems at the end of the interview - not to be missed! Next up: Pulitzer Prize Winner Viet Thanh Nguyen on another perspective of war. Feed your soul. Keep listening.
In this 21-minute episode, Kristine Poggioli, co-author with Carolyn Eidson of Walking San Francisco's 49 Mile Scenic Drive, discusses how Carolyn and her implemented a new year's resolution, walking what was originally created to be enjoyed behind the wheel. Kristine tells about the drive's origins and then talks about some of her favourite walks, the best views and monuments, the most strenuous and the actual vantage point of walking as opposed to being in a car. Putting a new twist on an old concept and for a new generation of those dedicated to healthy living, the 49 mile WALK, turns 80 this year, and is fast becoming a part of the city's bucket list..... Next up: Ishmael Reed, The Godfather of Multiculturalism. Feed your soul. Keep listening.
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