PUB: The 2013 Eludia Award Guidelines « Hidden River Arts

NOTE: Please see “News” for the announcement of the winner of the 2012 Eludia Award.

Hidden River Publishing announces the opening of our second Eludia Award, for a first book-length unpublished novel or collection of stories. The prize is open to women writers age 40 and older, who do not yet have a book-length publication of fiction. (Book length publications in other genres are fine.) The winning manuscript will be published on our imprint, Sowilo Press, and will receive $1000 plus ten copies of the book. Manuscripts accepted from November 1, 2012. Deadline March 15, 2013. Winner will be announced October 8, 2013. Entry fee $25.

All submissions must include name, address, telephone number, email, website (if you have one), a biography (including birthday) and resume, full synopsis and full manuscript. Online submissions strongly encouraged. Please note that, when submitting online, all materials must be combined into ONE document before uploading. Be sure to upload all required materials, including the synopsis BEFORE the manuscript, which should be uploaded last. To submit online please go to Submittable. and submit to the category “Eludia Award”.

All awards are decided by Hidden River staff, and decisions are final.

Deadline: March 15, 2013. Winning manuscript will be announced October 8, 2013.

Note: All submissions will be considered for regular publication by Sowilo Press in addition to consideration for The Eludia Award.

PAYPAL: We accept PayPal for the Submission Fee for email submissions ONLY. If you pay through PayPal, please be sure to include a copy of your PayPal receipt in your emailed submission packet, OR a confirmation number in your email submission packet.

 

PUB: Call For Applications for Residency: African Literary Writers « Storymoja

Call For Applications for Residency:

African Literary Writers


 

The Sylt Foundation calls all Writers of contemporary African literature to apply for the two month African Writer’s Residency, offered as part of the Sylt Foundation Residency Programme. One residency will be awarded annually to Africa writers who have published poetry, prose, plays and novels.

The Foundation is located on the island of Sylt, off the coast of Hamburg, Germany.  The Foundation’s residency programme has been running for several years offering opportunities to South African and international visual artists, writers and photographers. It is managed under the directorship of literary scholar and curator Indra Wussow.

This African Writer’s Residency is aimed to offer a residency to writers of contemporary African literature, who are related to or engaging with contemporary themes and concerns of Africa and the African Diaspora. The award is open to published writers of poetry, prose, plays and novels.

Following on the success of many years of engagement with contemporary African and South African literature and writers, the Foundation has sought to leverage its residency programme by inviting applications from African writers who through a juried selection process will be awarded this invaluable opportunity. Previously residents were invited onto this programme. In 2012, however, the residency process was formalized and published African writers are now invited to submit applications (as per the criteria) for selection onto the African Writers Residency Programme. The winning applicant will be selected by an experienced and credible selection panel of literary professionals. One residency is awarded each year to one winning applicant who will take up this exciting opportunity to enjoy creative writing time on the island at the Foundation Kunst: Raum Sylt Quelle.

This period will provide the writer with:

- an opportunity to focus on or complete a project in progress

- a quiet space suitable for contemplation and research

- an uninterrupted period for writing
- a means to leverage their artistic profile
- an opportunity to engage with other international writers and artists

The contemporary African writer who wins this Residency award is expected to work on or complete the writingproject proposed in their application. The residency aims to provide an opportunity to develop their ideas and do research related to their work.

While writers are managing career and personal demands, the vital process of conceptualizing and reflection,researching and developing new ideas, so essential to the writing process is often limited. A period of quietuninterrupted time to focus on exploring ideas is critical to this process which is a challenge when balancing the pressures of everyday life.

Application requirements

Writers of African literature are invited to submit:

- a project proposal of the project the writer wishes to work on while in residence

- it can be a current or proposed literary project
- a synopsis of the novel, short story or poetry project

Applications to include:

- Copy of a valid passport conforming to Schengen visa requirements

- Full Curriculum Vitae

- Writer’s Profile in English – 500 words

- Two (2) Letters of Reference in English from literary professionals, publishers or academics

Plus an excerpt (stating the publishers) from:

- one published book

- a volume of poetry

- a (publicly staged) play with information as to where and date it was staged

Note: Digital applications in MS Word or PDF documents only will be accepted (no hard copy proposals accepted)

(The copyright of all published material will be respected by the Foundation so digital copies of published books may be submitted and will be handled with due care.)

The Selection Procedure:

Selection will be by two separate panels. The panels will comprise of the Foundation’s director – Indra Wussow – a literary.scientist – and will include other literary experts. Every year new selection panels will be constituted.

The panel will be convened by the Foundation and will be identified by their expertise. The names of the panellists and their profiles will be made public via the Sylt Foundation’s website (www.kunstraum-syltquelle.de) and on Sylt Foundation African Writers’ Residency’s Facebook page.

The initial Selection Panel will evaluate all the applications received and will shortlist five (5) finalists. The second Judging Panel will review the 5 finalist’s applications and projects. One Finalist writer will be selected as the Winner and recipient of the Sylt Foundation African Writer’s Residency Award each year.

Art Source South Africa are appointed by the Sylt Foundation as Organisers of the Award and manage this residency programme. The Organisers do not vote and have no influence on the selection and judging process.

Key Dates For the 2012 African Writer’s Residency:

- A Call for Applications will go out in November 2012

- Deadline for application submission is by 4pm Friday 15 February 2013

- Announcement and notification of 5 shortlisted finalists 1 April 2013

- Announcement of Residency Award Winner 1 June 2013

- Residency to be taken up from June 2013 – 2014


No late applications will be considered. Applications will be kept confidential.

For additional information:    www.artsourcesouthafrica.co.za

or Art Source South Africa’s Facebook page

http://www.facebook.com/AfricanWritersResidency?fref=ts

Submit e-mail entries to:
Organisers: Art Source South Africa
Email: info@artsourcesouthafrica.co.za
Enquiries: ++ 27 (0) 11 447 2855 (Monday – Friday 9-4pm)

Direct enquiries and media queries via:

Phile Khumalo
Art Source South Africa
phile@artsourcesouthafrica.co.za

 

 

LITERATURE: “What I’ve Learned” a poem by me in collaboration... > L.I.T.

Aja Monet

<p>Aja Monet - What I've Learned from Cam Be on Vimeo.</p>

The Nuyorican Poets Cafe Presents "Aja Monet - What I've Learned"

a Camovement by Cam Be & Aja Monet

Shot by Cam Be & Aja Monet
Edited by Cam Be
Music by Miles Davis - Recollections
Filmed at the Nuyorican Poets Cafe in New York, NY

Aja Monet is the youngest to win the Nuyorican Poets Cafe Grandslam Championship title in 2007 at the age of 19.

"WHAT I LEARNED"

“What I’ve Learned” a poem by me in collaboration with @camovement. Here’s a video recording of a piece I wrote in grad school for a random assignment my professor and advisor, Michael Meyers, gave to me. He told me to spend an  hour writing the first things that come to my mind about what I know and that gradually we could work on editing it. Unfortunately, I never edited it. I shared it one random night at a performance I had at Hofstra University in 2010, after I ran out of poems to read and found this piece folded in between my journal. I shared the poem and the audience seemed to appreciate the wandering of it… 

Cam Be and I linked in NYC this past February and while there, we shot this video in the attic of the legendary Nuyorican Poet’s Cafe in the Lower East side. I love this space for so many reasons and it was pretty amazing rummaging through all the artifacts we found. Feel free to share this if you feel moved to…

here’s to a ton of spilling flaws….

always,

aja monet

 

POV: Baldwin on Palestine « Marxist Marginalia

Baldwin on Palestine

I apologize for the rather meager fare which has been on offer here of late. A post is coming soon, I promise, on Richard Wright, communism, and the blues. Until then, here’s a passage from James Baldwin’s last novel, Just Above My Head (1978), in which he addresses the subject of terrorism.

I was traveling before the days of electronic surveillance, before the hijackers and terrorists arrived.  For the arrival of these people, the people in the seats of power have only themselves to blame.  Who, indeed, has hijacked more than England has, for example, or who is more skilled in the uses of terror than my own unhappy country?  Yes, I know: nevertheless, children, what goes around comes around, what you send out comes back to you.  A terrorist is called that only because he does not have the power of the State behind him – indeed, he has no State, which is why he is a terrorist.  The State, at bottom, and when the chips are down, rules by means of a terror made legal – that is how Franco ruled so long, and is the undeniable truth concerning South Africa.  No one called the late J. Edgar Hoover a terrorist, though that is precisely what he was: and if anyone wishes, now, in this context, to speak of “civilized” values or “democracy” or “morality,” you will pardon this poor nigger if he puts his hand before his mouth, and snickers – if he laughs at you.  I have endured your morality for a very long time, am still crawling up out of that dungheap: all that the slave can learn from his master is how to be a slave, and that is not morality.

Reading this passage today, one is struck by the force of its prescience.  Twenty years before 9/11, Baldwin utterly eviscerated Bush and now Obama’s pious apologias for the War on Terror.  The contemporary relevance of the passage, however, can obscure its own context, which is just as notable.  Baldwin’s emphases here, on stateless peoples and hijackings, make it clear that the occasion for his reflections is the Palestinian struggle, which during the 1970s especially took the form of hijackings meant to draw international attention to the occupation.

Palestine came to be a prominent issue during the Black Power years, as Black radicals who identified with anticolonial movements embraced the Palestinian struggle against Israel.  This embrace led to allegations of anti-semitism (which were not always unjustified) against Black Power figures, ultimately culminating in Johnson Publications’ decision to shut down Black World, an important Black cultural and political journal, over a supposedly anti-semitic article about Zionism.  In this context, Baldwin’s writings on the subject, though brief, display a remarkable clarity of focus, as he unhesitatingly declares that Israel represents imperialism, not Jewish self-determination.

Thus in 1972, in his essay “Take Me to the Water,” Baldwin recounted his reasons for not settling in Israel when he became an expatriate in the late 1940s:

And if I had fled, to Israel, a state created for the purpose of protecting Western interests, I would have been in a yet tighter bind: on which side of Jerusalem would I have decided to live?

Here Baldwin displays an awareness that, in 1948, most of the Left still lacked.  When he made the decision to flee the United States, Baldwin realized he could scarcely accomplish his goal by settling in a country then replicating our own bloody frontier days.  Indeed, Baldwin’s clarity on this question stands out from almost any analysis on the Left during the period of Israel’s birth, with the notable exception of Tony Cliff.

Baldwin’s most substantial writing on Palestine came in 1979, with his “Open Letter to the Born Again.”  This letter was occasioned by Jimmy Carter’s dismissal of Martin Luther King’s former aid Andrew Young from his position as ambassador to the UN because of his decision to meet with a PLO delegation.  Baldwin is again clear on the circumstances of Israel’s birth:

Jews and Palestinians know of broken promises.  From the time of the Balfour Declaration (during World War I) Palestine was under five British mandates, and England promised the land back and forth to the Arabs or the Jews, depending on which horse seemed to be in the lead.  The Zionists – as distinguished from the people known as the Jews – using, as someone put it, the ‘available political machinery,’ i.e., colonialism, e.g., the British Empire – promised the British that, if the territory were given to them, the British Empire would be safe forever.

But absolutely no one cared about the Jews, and it is worth observing that non-Jewish Zionists are very frequently anti-Semitic.

Baldwin goes on to speak of Europe’s history of anti-semitism, the civilizational links between the Inquisition and Franco.  The situation in Palestine, he makes clear, is not the result of terrorism or Jewish malfeasance, but European imperialism:

But the state of Israel was not created for the salvation of the Jews; it was created for the salvation of Western interests.  This is what is becoming clear (I must say it was always clear to me).  The Palestinians have been paying for the British colonial policy of ‘divide and rule’  and for Europe’s guilty Christian conscience for more than thirty years…The collapse of the Shah not only revealed the depth of pious Carter’s concern for ‘human rights,’ it  also revealed who supplied oil to Israel, and to whom Israel supplied arms.  It happened to be, to spell it out, white South Africa.

Baldwin’s sharp sense for geopolitics, his grasp of the gulf which separates Jewishness from Zionism, and his willingness to locate the source of the problem in 1948 (‘for more than thirty years’) all would put him on the Left edge of the Palestine solidarity movement today.  Thirty years ago, in the United States, he must have felt as if he resided in the most desolate political wilderness.  Studied today as a writer of sexuality and gender, or of civil rights, Baldwin’s international radicalism remains in the hinterlands.  Those of us struggling too make good on his vision of real justice in the Middle East have a right and a duty today to claim Baldwin’s voice for our side, and in doing so help bring his radicalism the recognition it deserves.

 

FASHION: What I Wore This Week: Skinny Hipster’s Nifesimi > AfriPOP! »

Skinny Hipster’s Nifesimi

Repping the green-white-green colors of Nigeria, Nifesimi, the au courant stylist behind the funky Skinny Hipster blog has been capturing her gorgeous style online since 2006. A tomboy as a youngster, she has definitely grown into her fashion sense as she juggles being a student and a stylist based in Baltimore.

Day one: Two of the biggest trends of the season are mint colors and floral prints.  I incorporated both trends into this look, not sure if they would work but to my amazement, they did.

 

Day two: Love the artwork on this Zara top and how it fits.  I paired the blouse with harem pants for a casual/relaxed look

 

Day three: These Zara sandals have to be one of my favorite summer purchases.  I wore this outfit because I’m obsessed with high waist skirts and bandeau tops

 

Day four: This photo-shoot was done by my friend.  Due to boredom, I started playing dress-up and ended up falling in love with this vintage inspired look.

 

Day five: I wore this outfit to a Sunday service a few months back. I’m crazy for pleats and color blocking- which were the inspiration for this look.

 

YOU WILL LOVE: What I Wore This Week: Carlinn Meyer

“AfriPOP! What I Wore This Week” showcases the styles of the different African fashionistas worldwide. Our fashion junkie of the week will showcase what they wore going about in their daily lives; from a work day to a night out on the town! We are highlighting the fashion-forward, eclectic styles of those that look beyond brand names to focus on a personal style and aesthetic.

 

EDUCATION: St. Augustine’s University, St. Paul’s College Plan to Merge > Higher Education

St. Augustine’s University,

St. Paul’s College

Plan to Merge


by B. Denise Hawkins

 

St. Paul&rsquo;s

St. Paul’s College, pictured above, and St. Augustine’s University share Episcopal Church roots.

A small, private historically Black college in Virginia was on the brink of shuttering its doors and ending more than 145 years of history, but, instead of closure, a merger is likely.

St. Paul’s College in Lawrenceville, Va., could have easily died a slow death, especially after narrowly avoiding being stripped of its accreditation this summer amid mounting debt, but St. Augustine’s University, another HBCU, wants to see to it that the college survives in more than just name only.

“We find ourselves with the opportunity to do what is necessary, to not only preserve the legacy and history of our sister institution, Saint Paul’s College, but restore the viability, credibility and reputation of this HBCU,” read a statement from the university obtained by Diverse

“We are still working through some of the details and have no further comment at this time,” said a spokesperson for St. Augustine’s President Dianne Suber.

A shared affiliation with the Episcopal Church and a centuries-old mission to educate the underserved are among the things that unite the two institutions, separated geographically by only a few hundred miles. If plans are finalized by the Southern Association of Colleges and Schools and the U.S. Department of Education, how would such a merger look?

The plan could create “the Saint Paul’s College campus of Saint Augustine’s University in Lawrenceville, Virginia on the site of Saint Paul’s College.” And while the physical campus would remain as is, Saint Paul’s College would become an extension of Saint Augustine’s University, with academic programs accredited as Saint Augustine’s University programs and operations, explained Williard Stith, Saint Paul’s new vice president for Institutional Advancement. Those awarded degrees after the consolidation will earn them from Saint Augustine’s.

“Saint Augustine’s University is committed to upholding the history and legacy of Saint Paul’s College and making this transition as seamless as possible,” university officials state, but its goodwill would also come with a hefty financial commitment. “The consolidation would mean that Saint Augustine’s assumes all of Saint Paul’s liabilities, debts, and revenues. We estimate that our debt is at $4 [million] to $5 million dollars,” Stith said.

But at the same time, Stith said, Saint Augustine’s “wouldn’t be buying a pig in a poke. They would have some debt, but they would also have some tremendous assets.”

On the table, Stith said, is an estimated “$30 million in property, buildings, and infrastructure” that includes a student center, a gymnasium that’s paid for, about 500 acres of undeveloped land attached to the 142-acre college, and a subdivision lot in an exclusive area of Virginia’s Fauquier County that is probably worth about $300,000. St. Paul’s location in rural Virginia and away from commercial properties has not made liquidating some of those lands a viable option for shoring up its debt over the years, Stith said when asked. In October, St. Paul’s lured Stith away from Virginia State University to help it raise much-needed funds to operate the college, which has about 111 undergraduate seniors enrolled this semester.

Saint Paul’s may be teetering at the point of dissolving, but it managed to kick off the fall semester in September and in November host a homecoming without a football team and crown Takeya Skinner as queen.

The proposed merger plan would offer new students majors that include Teacher Education, Criminal Justice, and Business Administration with an Emphasis in Economic, and Rural Community Development.

“We believe each of these majors has the potential to be successful at the newly established site, especially because they capture the interest and focus for the community surrounding the campus,” according to the statement from Saint Augustine’s. 

In his first month on the job, Stith says he already raised more than $16,000 and met people along the way who have been “more than willing” to write checks when he’s asked in the name of Saint  Paul’s College. Many have been alumni and fraternity members, and others were unfamiliar with the Black college until Stith gave them his pitch for the “school I believe in.”

The inability of Saint Paul’s to raise operating costs and pay its debts was one of the concerns that initially led to its loss of accreditation. If the new merger plan is finalized, Saint Paul’s will retain its accreditation while it remains under the Saint Augustine’s umbrella. SACS would re-evaluate St. Paul’s standing in another two years following the merger, Stith said.

For now, he added, St. Paul’s has plenty of fight left. “We are just grateful that the president of Saint Augustine’s decided that we are not going to let you get pushed under the bus.

“She reached out to Saint Paul’s because she didn’t want us to be eliminated from the landscape.”

 

 

HISTORY + VIDEO: Lerone Bennett Deconstructs Lincoln

LERONE BENNETT

DECONSTRUCTS

ABRAHAM LINCOLN

GO HERE TO VIEW THE FULL PANEL PRESENTATION

Schomburg Center for Research in Black Culture

Mr. Bennett spoke about his book Forced Into Glory: Abraham Lincoln’s White Dream, published by Johnson Publishing. The book depicts President Lincoln as a racist who grudgingly came to the decision to emancipate slaves. Following Mr. Bennett’s remarks a panel of historians discussed the book’s conclusions and answered questions from the audience.

>via: http://www.c-spanvideo.org/program/159690-1

 

__________________________

 

Forced Into Glory: Abraham Lincoln's White Dream

 by Lerone Bennett, Jr.

 

Los Angeles Times Book Review, April 9, 2000

Each generation, it is said, reinvents history in its own image. This is certainly true in the case of Abraham Lincoln. Portraits of Lincoln have gone through innumerable permutations, depending upon the era in which historians were writing. Lincoln has been depicted as a statesman who merged politics and moral purpose by liberating four million slaves and as a political pragmatist who opposed the radicals within his party almost as much as secessionist Southerners. Most recently, in David Donald's masterful biography, Lincoln emerged as an indecisive leader with few firm convictions, a man constantly buffeted by events – rather reminiscent of Bill Clinton. Rarely, however, has a scholar launched the full-scale assault on Lincoln's reputation that Lerone Bennett offers in “Forced into Glory.”

Although not an academic historian – he has long worked as an editor at Ebony magazine – Bennett in the 1960s produced three pioneering and important works of African-American history. “Before the Mayflower” surveyed the black experience in America from the first appearance of slaves in colonial Virginia. “Black Power U. S. A.” challenged prevailing interpretations of Reconstruction by stressing how blacks achieved significant political power after the Civil War. And “Pioneers in Protest” offered portraits of key leaders in black history. Popular history at its best, these books brought the fruits of scholarly research to a broad audience at a time when the civil rights revolution had created tremendous interest in the black past.

But it was his brief article, “Was Abe Lincoln a White Supremacist?” which appeared in Ebony in 1968, that put Bennett on the radar screen of academic history. Seeking to dismantle the “mythology of the Great Emancipator,” Bennett argued that Lincoln “shared the racial prejudices of most of his white contemporaries.” He resolutely opposed black suffrage and other expressions of racial equality, and freed few if any slaves with his famous Proclamation. Far from being a symbol of racial harmony or enlightened white leadership, Bennett concluded, Lincoln embodied the nation's “racist tradition.”

Apart from Bennett's indignant tone, little in the Ebony piece was actually new. Millions of readers had already encountered Richard Hofstadter's brilliant portrait of Lincoln in “The American Political Tradition,” which belittled the Emancipation Proclamation and pointedly juxtaposed Lincoln's 1858 speech in Chicago affirming the equality of man with his address in pro-slavery southern Illinois the same year insisting that he opposed “bringing about in any way the social and political equality of the black and white races.” In the early 1960s, Malcolm X had urged blacks to “take down the picture” of Lincoln – that is, to place their trust in their own efforts to secure racial justice, rather than waiting for a new white emancipator. In 1968, however, with so many national icons tumbling from their pedestals and Black Power the new rallying cry of the black movement, Bennett's article struck a powerful chord. It also evoked a furious counterattack from Lincoln scholars. Henceforth, no one writing about Lincoln could ignore the subject of his racial outlook.

Now, three decades later, Bennett has produced a full-scale elaboration of his argument that Lincoln was a racist and a supporter, not a foe, of slavery. In brief, Bennett's indictment runs as follows: as an Illinois legislator, Congressman, and political leader before the Civil War, Lincoln opposed the abolitionists, supported enforcement of the fugitive slave law, favored colonizing blacks outside the United States, and explicitly endorsed the state's laws barring blacks from voting, serving on juries, holding office, and intermarrying with whites. He enjoyed minstrel shows and used the word “Nigger” in private conversation and sometimes in speeches.

As president, Bennett continues, Lincoln initially allowed the border states – slave states that remained within the Union – to dictate his policy toward slavery, and refused to free and arm the slaves because of his ingrained racism. Credit for emancipation should go not to Lincoln but to abolitionists like Wendell Phillips and to Radical Republicans in Congress, who in 1862 pushed through the Second Confiscation Act, freeing slaves of owners who supported the Confederacy. The Emancipation Proclamation, Bennett insists, did not free a single slave, since it applied only to areas outside Union control. In fact, it was designed to “save as much of slavery as he could.” (505). To the end of his life, in Bennett's view, Lincoln was a devoted proponent of white supremacy.

Repetitious, full of irrelevant detours, and relentlessly polemical, “Forced into Glory” is not likely to convince many readers who do not already believe that Lincoln was an inveterate racist. But the book deserves attention, for it contains insights into Lincoln's era and the ways historians have treated the sixteenth president. Bennett offers a valuable discussion of the notorious Black Laws of pre-Civil War Illinois, which not only denied blacks basic civil and political rights, but required any black entering the state to post a bond of $1,000. He highlights little-known acts of Congress that paved the way for emancipation – not only the Confiscation Act of 1862, but the earlier revision of the military code to forbid soldiers to return fugitive slaves to bondage, and a later measure that freed the families of black men who enlisted in the Union army, effectively destroying slavery in the loyal border states to which the Emancipation Proclamation did not apply.

Most important, perhaps, Bennett presents compelling evidence of how historians have consistently soft-pedaled Lincoln's racial views. Previous scholars, he rightly points out, downplay or ignore Lincoln's commitment to colonizing blacks outside the country, a position he inherited from his political hero, Henry Clay, and advocated publicly for almost his entire political career. This was no passing fancy – Lincoln mentioned the idea in numerous prewar speeches, two state of the Union addresses, several cabinet meetings, and in a notorious meeting with black leaders at the White House, at which he urged them to encourage their people to emigrate.

Lincoln was hardly the era's only colonizationist – virtually every major political leader of the early republic, including Thomas Jefferson, James Madison, Andrew Jackson, and John Marshall, supported the idea. Their ideal America was a white republic. But historians find Lincoln's embrace of colonization embarrassing. Through what Bennett calls the “fallacy of the isolated quotation” (127), they emphasize Lincoln's condemnations of slavery while ignoring his support of colonization.

Thus, writers on the Civil War era are almost certain to quote Lincoln's allusion to the “monstrous injustice” of slavery in his Peoria speech of 1854, but not the passage in the same speech asserting that he would prefer to send the slaves, once freed, “to Liberia – to their own native land” (a term he used even though some blacks' ancestors had been in North America longer than Lincoln's). They cite his message to Congress of December 1862 with its eloquent passage about the “fiery trial” through which the nation was passing, but rarely note that in the same speech, Lincoln not only affirmed, “I strongly support colonization,” but for the first time used the ominous word “deportation.” (513-16)

If, on colonization, Bennett scores some powerful points against existing Lincoln scholarship, his argument as a whole seems overwrought. Bennett is the kind of critic who cannot take yes for an answer. Thanks, in part, to the attention to Lincoln's racial views generated by his own 1968 article, few historians today still refer to Lincoln as a racial egalitarian, and discussions of the Emancipation Proclamation nowadays almost always emphasize its limitations as well as its broad impact. It would be hard to find a book published in the past twenty years that portrays Lincoln freeing all the slaves with a stroke of his pen. Nor are Radical Republicans and abolitionists, as Bennett claims, still viewed as fanatics and zealots bent on punishing the white South. Today's historical works are more likely to emphasize the idealism of Wendell Phillips, Thaddeus Stevens, and Frederick Douglass, much as Bennett does in this book.

Bennett, however, is after larger game. Lincoln, for him, stands as a symbol of core American myths and values, “the key,” as he writes, “to the American personality.”(preface) By demythologizing Lincoln, he hopes to demonstrate the centrality of racism to all of American culture – today, as in the ninteenth century. Thus, Bennett is not content to show that Lincoln held racist views. Racism, Bennett insists, was Lincoln's most deeply held belief, “the center and circumference of his being.” The Great Emancipator, he asserts, was, in reality, “one of the major supporters of slavery in the United States” and “in and of himself, and in his objective being, an oppressor.” (76, 251) These statements are totally unfounded.

Prosecutorial briefs rarely make for satisfying history. Bennett is guilty of the same kind of one-dimensional reading of Lincoln's career as the historians he criticizes. They downplay Lincoln's racism and emphasize instead his anti-slavery and egalitarian rhetoric – his statement that the “equality of man” is the “central idea” of the American nation, his soaring language accusing Stephen A. Douglas of “blowing out the moral lights around us” for refusing to oppose the expansion of slavery. Bennett dismisses such statements as meaningless rhetoric: “this was not an argument about rights and realities; it was an argument about words.” (308)

Which was the real Lincoln – the racist or the opponent of slavery? The unavoidable answer is: both. Bennett cannot accept that it was possible in nineteenth- century America to share the racial prejudices of the time, and yet simultaneously believe that slavery was a crime that ought to be abolished.

Nor is Bennett convincing in his account of Lincoln's policies toward slavery during the Civil War or his belittling of the Emancipation Proclamation as a meaningless “ploy” designed to perpetuate slavery as long as possible. (7) The Proclamation may not have freed many slaves on the day it was issued, but it marked a turning point in the war, and in Lincoln's own outlook. It ignored colonization and for the first time authorized the large-scale enlistment of black soldiers into the Union army. In making the destruction of slavery a Union objective, it transformed a war of armies into a conflict of societies and ensured that Northern victory would produce a social revolution within the South.

Contemporaries fully understood this -- among them the slaves, free blacks, and white abolitionists who celebrated the issuance of the Proclamation on January 1, 1863. So did Karl Marx, observing American events from London. “Up to now,” Marx wrote, we have witnessed only the first act of the Civil War – the constitutional waging of war. The second act, the revolutionary waging of war, is at hand.” 

Once the Proclamation had been issued, Lincoln embraced the role of Emancipator, and refused demands that he abandon or modify it. (Were he to do so, he told one visitor, “I should be damned in time and eternity.”) He had been reluctant to employ black soldiers, but came to believe them critical to the Union's eventual victory. To secure emancipation against a future national retreat, he insisted that any supporter of the Confederacy seeking a pardon from the federal government pledge to support the abolition of slavery. He sought to bring Louisiana back into the Union under a new constitution that outlawed slavery, and worked tirelessly to secure the passage of the Thirteenth Amendment, abolishing the institution throughout the country.

By the end of the war Lincoln for the first time called publicly for limited black suffrage in the postwar South. These developments -- striking examples of his capacity for growth in the last two years of Lincoln's life -- are strongly emphasized in LaWanda Cox's 1981 work, “Lincoln and Black Freedom,” a brief for the defense in the case of Lincoln, race, and slavery. But Bennett says almost nothing about them and, indeed, ignores Cox's book.

Lincoln was not an abolitionist or Radical Republican, a point Bennett reiterates innumerable times. He did not favor immediate abolition before the war, and held racist views typical of his time. But he was also a man of deep convictions when it came to slavery, and during the Civil War displayed a remarkable capacity for moral and political growth. If America ever hopes to resolve its racial dilemmas, we need to repudiate the worst of Lincoln, while embracing the best.

Eric Foner is DeWitt Clinton Professor of History at Columbia University. His most recent book is “The Story of American Freedom” (W. W. Norton).

>via: http://www.ericfoner.com/reviews/040900latimes.html

 

 

VIDEO: Listening to Gil Scott-Heron, Again > Hydra Magazine

Jamie Byng, publisher of Canongate Books, was a friend of Gil Scott-Heron for more than 20 years. During 2010 they recorded this interview in London where the rapper-poet talked about his life and work, interspersed with intimate performances of his music.

Listening to

Gil Scott-Heron, Again

The gifted musician fell victim to his own cautionary tales.

— By | June 9, 2011

I heard the news of Gil Scott-Heron’s death while visiting friends in New York. We spent much of our evenings waxing intoxicated under the violet canopy of early mornings, yelling and laughing, talking The Watts Prophets and Melvin Van Peebles, bumping jazz and hip-hop, falling silent and being silent, listening to Jamie xx’s remix record of Scott-Heron’s latest and last effort, I’m New Here. Our own peculiar brand of mourning.

Over cartons of dumplings, we entertained alleged causes of death. Weakness stirred by drugs? Complications from HIV? Exhaustion? I saw Scott-Heron perform in San Francisco two years ago, I professed, and he warned us not to trust the many rumors circulating about his ill health. Was it just a strategy for the satirist to protect himself?

But then a year afterward, the New Yorker published Alec Wilkinson’s haunting profile of Scott-Heron’s struggle with crack. He smoked openly in front of the reporter. His body was thin and twisted, his face gaunt, and his voice, once a sweet baritone, now battered and gruff.

Scott-Heron took no credit for the album on XL Recordings, the brainchild of former UK rave producer Richard Russell. He may have wanted to give Russell due credit for organizing the deeply evocative record, pairing Scott-Heron’s gravelly lyrics over sparse beats and menacing bass; but even so, he would neglect to mention that many of those recorded words were indeed his own–a collage of poems culled from his early 1970s book, The Vulture, captured asides in the studio, covers of blues and fettered demons that he made his own, that were his own.

In a radio interview last year on BBC, host Mark Coles attempted to address the subject of Scott-Heron’s personal trials. Scott-Heron interrupted, “Very few things have been autobiographical that have been included in my work … If you do a good job on a song and convince people of it, they’ll attach it to your biography as though it’s actually something that’s part of your life instead of a good acting job…. And so we’ve made a lot of characters come to life for people, because they needed them to come to life.”

At one point during those drunken evenings, during the first humid wisps of summer in America, Edgar wondered why Scott-Heron didn’t own it. He could have owned it; whether he suffered from HIV, or became a victim of the crack epidemic that still plagues  our inner cities, or however he might have spiraled down the caverns of his own troubled soul.

It’s reasonable to wonder why the bluesologist infamous for tapping into spiritual and political unrest, known for “The Bottle” and “The Revolution Will Not Be Televised” and “Angel Dust,” remembered still for his masterpiece recording in 1974, Winter in America, didn’t openly reckon with his transfiguration into the protagonist of his own cautionary tales. And maybe we would have listened. Maybe the time had come that we would have paid attention to Scott-Heron, again. That he would not be just another black musician, poet, shaman, political defiant, visionary, tossed to the history books or the hip-hop samples, the category of dead before they’re dead, and then when they’re really dead, we can finally remember again.

Greg Tate wrote for the Village Voice of the spells of ruin, momentary rejuvenation, and ghostly disappearance of Scott-Heron. He was wiped away in prison, became a drugged hermit in his Harlem apartment, showed mere glimmers of life as a passerby in the New York subway. Tate saw Scott-Heron locked in the all-too-familiar story of American musicians ”who’d figured it all out by puberty and were maybe too clever and intoxicated on their own Rimbaudean airs to ever give up the call of the wild.” He was caught in a gyre of self-destruction and renewal, as we sat by idly, just hoping he would find his way out of the tragic cycle. Whereas white musicians like Bob Dylan and Keith Richards mustered popular support for their healing and peace of mind, black musicians like Hendrix and Scott-Heron and James Brown vanish to the wayside.

Strangely, Scott-Heron prophesied it all in his songs. He spoke and sung seemingly from a distance, sketching out the horrors and demons that haunted a scourged American dream. But he always implicated himself, quietly and sometimes secretly, in these songs. In “The Bottle,” he sang, “If you ever come looking for me/ You know where I’m bound to be — in a bottle. / If you see some brother looking like a goner/ It’s gonna be me.” Scott-Heron spun private confession into the appearance of political protest.

Many of Scott-Heron’s older songs now feel more damning, fresher and more troubling than before. He sings of the sick redemption found in drugs in “Home is Where the Hatred is,” and revisits the pain of being uprooted, of not finding a place of rest, and of not coming from a place of settled warmth, in “Home.”

Stand as far away from me as you can and ask me why
Hang on to your rosary beads
Close your eyes to watch me die
You keep saying, kick it, quit it, kick it, quit it
God, but did you ever try
To turn your sick soul inside out
So that the world, so that the world
Can watch you die

“Because I always feel like running,” Scott-Heron intones on his latest, “Not away, because there is no such place/ Because if there was, I would have found it by now.”

 

AUDIO: The Decoders – I Am the Black Gold of the Sun (Download)

I AM THE BLACK GOLD

OF THE SUN

I’ll be honest. My first experience with I Am the Black Gold of the Sun was on the Nuyorican Soulcompilation featuring Q-Tip. I eventually encountered the OG version by The Rotary Connection featuring the heavenly vocals of Minnie Riperton, composed by Charles Stepney and much later other versions as well. Here’s a new version, inspired by the genius of Charles Stepney with Samba and Jazz elements that take it to an entirely different space. Enjoy

 

PUB: Times They Were A-Changing: Women Remember the 60s & 70s

Do YOU remember the 60s and the 70s?

“If you can remember the 60s, then you weren’t really there.”  Or so they say…

But you WERE there, and you have your memories. What stands out for you? What are your favorite moments?  We want to read them!

We are producing an evocative anthology of true stories and poetry written by women who were there, and who have never forgotten the times or the moments that changed them:

Times They Were A-Changing: Women Remember the 60s & 70s

What an awakening time it was—rocking us to our roots, making us think, feel, and respond to the world in new and sometimes confusing, but always exciting, ways.

We invite women who were part of the amazing movements of consciousness, politics, and feminism during the 60s and 70s to submit their writing, the true stories of what happened in personal narratives or poetry. We hope these works will:

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If you’d like more information about the anthology, watch this lively video interview from Matilda Butler of Womens’ Memoirs Blog with Linda Joy Myers. Click here to watch.

Matilda writes, “Watch the video to learn more about the anthology and how you can submit your story for consideration. You have about two months — enough time to write your story, polish it, and submit it. All the details are explained.”