>via: http://thisisnotafrica.tumblr.com/post/44713497261/digi-wears-goggles-rearmedic
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"Beyond the
'angry Black woman' ":
A conversation on
Al Jazeera's The Stream
Check out "Beyond the 'angry Black woman' ", conversation on Al Jazeera's The Stream about "stereotypes used historically by Whites to justify slavery and racial inferiority".
Excerpts: "Some say today's reality TV shows and Hollywood movies help to reinforce those stereotypes, perpetuating the negative perceptions of African-American women."
"Why do these racist depictions continue to resurface in mainstream media? What's the societal impact for African-American women?"
"Some women say they silence themselves and don't express their anger, even when it's appropriate to do so, by fear of being seen as the "angry Black woman"."
"There are a lot of reasons to be angry in a society that is so incredibly sexist and racist."
Speakers include Afropunk regular Chescaleigh, blogger/comedian of 'Shit White Girls Say... to Black Girls' fame.
Let us know what you think in the comments! - L.
via afropunk.com
Nana Darkoa Sekyiamah:
Opening doors to
African women's bedrooms
Not everyone likes what Nana Darkoa Sekyiamah has to say (Warning: The blog contains some content only suitable for adults. You must be at least 18 to browse the blog). A recent visitor to her blog asked:
I was wondering. Are you Kenyan? .. I think you are. What is this obsession with sex that you Kenyans possess. This is maybe the 5th Kenyan blog talking about sex…Have a grip of yourselves people…
Nana Darkoa replied:
Elyas, I am not Kenyan I am Ghanaian. Perhaps you should learn not to judge people with little or no knowledge. Your assumption that Kenyans are obsessed with sex is based on reading 5 blogs on sex authored by Kenyans? What rubbish!
Her visitor was quick to respond:
Nana. I did not jump to any conclusion. There is no difference between you Ghanaians and the Kenyans. You both happen to be Bantus. Therefore, you people are both fascinated by sex. Do you really think that this is the way to enlightenment. It is apparent that ya’ll trying to imitate the western culture. Please, stick to your culture and quit trying to be something your not.
Such comments are, however, the exception rather than the rule on Nana Darkoa’s blog Adventures from the bedrooms of African women. For the past two years, Adventures has provided a forum for frank and intimate discussions of sex and sexuality amongst African women and men. It was Nana Darkoa’s hope that the blog would be a space in which to continue a discussion that started two years ago during a holiday away with a group of girlfriends. In the space of a few days, they explored issues and secrets at a level she had not previously enjoyed. It was a conversation she didn’t want to end, so she teamed up with close friend, Abena Gyekye, and took it online.
But she wanted the blog to be more than a place to gossip about sex. Nana Darkoa is adamant that women should be encouraged to take responsibility for both their sex lives and their sexual pleasure. In Ghana, she believes that, for the most part, Victorian norms proliferate around the subject of sexuality. Sex education, where it exists at all, is very simplistic – if you have sex you will get pregnant, and the only solution is abstinence. That, however, is not where many Ghanaians – who make up the majority of her 10,000 visitors per month – want the conversation to end.
Wow this has been a very interesting read. I just found out about this blog and I am in awe of many of the posts. I had to comment on this one.
Nana Darkoa believes that there is a lot of curiosity in Ghanaian society about sex, particularly among young adults who are exploring and experimenting sexually. By not discussing sexuality openly, she thinks society automatically creates mystery and fear around the topic and a sense that what you’re doing is wrong. By contrast, Adventures provides a safe and anonymous space in which to discuss a range of topics. And with comments on the site often running longer than the posts themselves, it is clear that her readers value the opportunity to share and question their attitudes and experiences as well as the experiences of others.
I have found it interesting reading all your views. I must say I have learnt from the post and the comments as well. Nevertheless I must say that there is point that has not been well elaborated so, I decided to write about from my own experience.
With blog articles and comments often exploring intimate subjects, there are those who consider Nana Darkoa to be ‘brave’ for even attempting to write about such topics. She is quick to dismiss the notion that she is brave – a word she believes is better attributed to people who take real risks. Rather than being a brave move, starting the blog seems a natural extension of her many varied roles – whether as a Programme Officer in charge of fundraising and communications at the African Women’s Development Fund, co-founder of fashion label Maksi Clothing or as founder of the feminist women’s empowerment group Fab Fem. Feminism is at the heart of her blog and all her endeavors. On International Women’s Day she wrote passionately about coming out as a feminist:
Oh so being a feminist is being part of this movement that wants to change the world in which we currently live in? That wants to create a world that is safer for girls, women and communities at large. Well sign me up for that movement!
Feminism and sex are but two of many topics that are explored on the site. Blogs are just as likely to explore long distance relationships, domestic violence or homosexuality. Topics are often driven by requests from her readers, or from issues that are raised in comment discussion that she feels warrant a blog of their own. One subject which she is hoping to explore in more depth is how notions of sexuality fit culturally. She is not convinced that current ‘traditional values’ are consistent with African culture. Nana Darkoa believes we should be questioning whether the level of control that women have today over their lives is drawn from traditional African culture or has been imposed more recently.
Ironically, one concern Nana Darkoa has about her blog, is that many of her guest contributors and commenters tend to be men.
Wandered into this thread randomly from someone’s blog link, and it makes for an interesting read. Myself, I’m a white male, and hopefully not unwelcome to comment.
The prevalence of men visiting the site is, she believes, a product of men having more access to public spaces and a greater willingness to discuss sex openly. Despite it's growing community of male supporters, Nana Darkoa is adamant that she writes only for women. It is her hope that those women (and men) will continue to engage with Adventures and help the blog to keep pushing boundaries – boldly exploring thought provoking issues and drawing followers and contributors from across the continent.
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Interview with
Ghanaian writer,
activist and designer
Nana Sekyiamah
Nana Sekyiamah - Photo: Yinka Ajakaiye
Why did you set up Adventures from the bedrooms of African women blog?
I set up Adventures in January 2009 with my BFFFL Malaka Gyekye (Best Friend for Freakin Life). I had been on one of the best holidays of my life with 3 other women and we had spent most of that time having the most frank open conversations about sex. I came home thinking ‘Wow. I want to keep having these conversations with African women’.
I love the blog title, can you explain to us please?
Malaka and I decided we needed to document our own stories. We laughed about the stereotypes that existed about African women and sex, and how shocked people would be to learn what really went on in the bedrooms of African women.
What are the main myths around the sexuality of black women?
That’s the weird thing about the myths around the sexuality of black women. It’s extreme, contradictory and often irrational. On one hand we’re portrayed as hyper sexualized (by the majority of commercially successful hip hop artists for e.g.), we’re objects of sexual curiosity and exotic to the white western male world (from as far back as Sarah Bartmann) and to others (I would put African men in this bracket) we’re boring, unadventurous, and sexually unimaginative. None of these stereotypes in my opinion are true.
Why is the sexuality of black women an issue?
Because to me its one of the major issues that we haven’t yet dealt with. The right to bodily integrity, the right to freedom of choice, the right to pleasure, the right to safer sex…
What have you learned from the blog? How to have better sex. Seriously. You can’t be ‘preaching’ to others about the importance of pleasurable sex and not be taking your own pleasure seriously. I have also learned how diverse African women are in our sexualities, experiences and desires and that it’s crucial to respect the sexual choices that women have.
When you’re not doing Adventures, what else are you doing?
I am Communications Officer for the African Women’s Development Fund (AWDF), I own a fashion label with my sister, MAKSI Clothing, I write for magazines including DUST magazine and Dream Weddings in Ghana, and occasionally I do some consultancy work on communications and PR. Oh and I own a small farm which produces oil palm.
How are you spending IWD in Ghana?
I’m organising an event for AWDF with our partner Alliance Francaise (Accra). We’re holding a series of events including an arts exhibition, launching a specially commissioned song by Lady Jay Wah called ‘African Woman’ and a concert with Sia Tolno, RFI Discovery Award Winner of 2011.
>via: http://womenoftheworldfestival.wordpress.com/2012/03/05/interview-with-ghanai...
‘Demystifying’
African (Romantic) Love
[Updated]
I think that African love also needs to be demystified because some people seem to believe that love did not exist in Africa before the Europeans came. These people believe that in pre-colonial times, Africans did not fall in love at all. Marriages were arranged, young girls were married to old men with harems and if it was not that then children were forced into marriages through betrothals that their parents had arranged before they were even conceived.
dogon. wood. iron. / (Source: hudhud-honey-hood)
Again such beliefs seem to be more suited to the ignorant racists. I don’t know if we even need to be talking about if our African ancestors ever fell in love. After all, we are talking about several million people here with different stories. First of all, I thought love was a human emotion as in there is no switch to be turned on and off in the sense that all human beings are capable of loving others. No one can say that they came to a place and introduced something called ‘love’ to the locals there. If we are saying that pre-colonial Africans that never felt love why stop there, we might as well continue to say that they never felt joy or sadness or fear or anger etc. Secondly, I think the first thing anyone who believes that pre-colonial Africans never fell in love should ask themselves is this; is there a word for love in your native African language? This word should not be an Africanization of foreign Western words. Furthermore, will goddesses of love exist in African traditional religions if the emotion was foreign to them? I do not think so.
I believe that as long as people have been able to eat, sleep and dream, they have been able to love. Who knows if most of the marriages in pre-colonial Africa were based on political or other selfish reasons? However that does not stop people from loving.
As I cannot find any journal articles based on research on this African love topic, I guess this should be an open thread. I would really like to hear other people’s opinions on this issue. I must state that I am not talking about modern times but historically (as usual I am more interested in historical aspects). Let us say precolonial Africa for clarification purposes. I personally do not think this issue should even be an issue at all. Of course that was before I witnessed an African mentioning that there was no such thing as ‘love’ in Africa in the olden days or another person saying that ‘love does not exist in the African context’… erm, really? I guess it was to address such thinking that an anthology of African love stories was released. Personally I believe that it is indeed possible that emphasis was not placed on love in African societies historically but to say that it did not exist is taking things a bit too far. So what do you think?
Oh and another thing before I end this, I enjoy reading smutty romance novels (I also read smutty manga! Kayono rules!) and lately I have been craving romance fiction featuring African heroines. Do such books exist? Can anyone recommend any to me. I do not mind if it is historical or modern or an e-book. I am interested in literally any work as long as the story is good and interesting.
Update: Sugabelly’s rant is a MUST READ! Her post deals with this issue in more depth.
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Statue of Memi and Sabu, Old Kingdom, Dynasty 4, ca. 2575–2465 B.C.
Egyptian; Probably from Giza
Painted limestone
H. 24 3/8 in. (62 cm)
Rogers Fund, 1948 (48.111)
Pair statues, usually depicting a husband and wife, were frequently placed in a serdab, the hidden statue chamber often found in nonroyal tomb chapels of the Old Kingdom. The Egyptians believed that the spirit of the deceased could use such a statue as a home and enter it in order to benefit from gifts of food that were brought to the offering chapel of the tomb.
The inscription on the front of this statue identifies these individuals as the Royal Acquaintance Memi and Sabu. Although the text does not specify a relationship, they were probably husband and wife, as is common for pair statues where a relationship is recorded. The pose is unusual because Memi is returning Sabu's embrace by draping his arm around her shoulders. This restricting gesture may account for the fact that he stands with his feet together, rather than striding forward in the normal masculine pose.
Until recently, this statue was dated to Dynasty 5, but the figures have many features in common with Fourth Dynasty statues found in the nonroyal cemeteries surrounding the Great Pyramid of Khufu (Cheops) at Giza. In addition, the pose has only two known parallels, both from Giza and both datable to Dynasty 4.
This work of art also appears on Connections: The Embrace
>via: https://www.metmuseum.org/toah/works-of-art/48.111
LAURA MVULA
- Watch Out For Her!
I am in LOVE with this lady and her gorgeous energy... you don't want to miss out!Some tunes I'm addicted to...
Inner-View:
via holisticlocs.com
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All Black Everything:
Big Frizzle’s ‘Africa’
September 14, 2012By
This music video for Big Frizzle’s ‘All Black Everything’, produced by London-based media house GlobalFaction made me wonder about GlobalFaction’s politics, and their use of imagery. I’m struck by the flood of historical images featuring in recent Congo-related music videos. Congo, in many music videos, gets often used as a stand-in for ‘Africa’ in general. And Big Frizzle’s, I’d say, is just one more example. The list is long. Especially but not exclusively, as this video shows, francophone rappers. It shouldn’t come as a surprise of course. Photos, documentaries from colonial archives, fiction films and clips of those films started to circulate ever since the arrival of YouTube or DailyMotion, and (music) video makers have been having a ball downloading and pasting them to conscious and less conscious lyrics.
One of those photos used here (around the 4:00 minute mark) is a portrait of monsieur ‘Nkazi’ by Stephan Vanfleteren. It’s a contested photo. It graces the cover of a massive tome by Belgian author David Van Reybrouck about Congo’s history (published in Dutch some years ago, recently translated in French and German, and soon available in English too). More than two-hundred thousand copies of the book have already been sold. Monsieur Nkazi died before the book came out. The portrait is contested because Nkazi’s family claims it reinforces a stereotypical image of “a poor African” and that they didn’t consent on having his portrait used for the book. And so they are asking for a compensation. The foreign language versions of the book won’t be carrying the photo.
Anyway, to return to the video, the use of these images, and the politics behind these kind of videos: I wanted to hear other opinions so I asked the Africa is a Country desk.
Sean Jacobs: At first it looks like a parody of Big Black Af (played by Mos Def) and his crew (whose fictitious members included Charli Baltimore, Cannibus and MC Serch as “One-Sixteenth Blak”) with its overbearing black global politics and “back to Africa” politics, but it is clear that it is a much harder version of what Kanye West half-heartedly wanted to do with ‘Diamonds of Sierra Leone’. Only problem, with much of rap, is that it doesn’t offer much else than consciousness and identity politics.
Wills Glasspiegel: What’s up with the link between massacres in Congo and the idea that he too seems to be down for the use of “any means necessary?”
Mikko Kapanen: I have been thinking about this a lot: what is the purpose of political music? I am interested in Hip-Hop in particular. I think at best it can be a soundtrack to political activity or politicising the audiences. Giving them references and pointers to find more information. There are some exceptions to this rule — I never get tired of sharing this link — but for the most part music and musicians just direct their audiences towards what they feel is important. Like said, I am specifically talking about political Hip-Hop, but did A Change is Gonna Come communicate hard information or just a mood of certain people in certain time and place? Or Public Enemy? The answer is ‘sometimes yes’ and definitely the artists themselves have consistently talked politics in the interviews and on stage, but more often than not, the lyrics capture something less easy to describe and that’s why many times these songs can work as a soundtrack to other struggles as well.
In my opinion this specific song and video are great. I enjoy them and I have enjoyed music from Big Frizzle before (he’s more of a chorus guy normally) and videos from GlobalFaction whose YouTube channel has at the moment nearly thirteen million views. We must realise that these guys have got a lot of muscle amongst certain audiences regardless of the fact that mainstream media don’t really support them in any way. What the mainstream media do support however is a whole lot of shallowness and I welcome any opposing force to that. That is why I think that there is a massive and massively significant connection between Congo and “by any means necessary”. It’s part of the same conscientising campaign these artist are on and I for one applaud that. I would also say that the circles that the artist and video maker represent are involved in other positive movements outside of their primary artistic expression.
It’s true by the way what Sean says about Bamboozled style Mau Mau anger; one is reminded of it, but I’d go as far as saying that the UK — I mean people elsewhere are still surprised that there are Black people in the UK — has a very different context to the US. Of course there’s no need to make more general statements, but I have observed in my four long years in Birmingham that the African-Caribbean community in the UK has got its own kind of identity politics and they don’t have a similar umbrella as, say, African Americans.
All in all as a fan of Hip-Hop — when it’s done in a progressive spirit — I always want to support positive movements. It’s easy to be cynical about music like this, but the market pressures around it are strong and they are directing all the attention and money to music that is between empty and hateful and this — together with many other songs of course — is a welcome interruption to it.
Dylan Valley: I think it’s a dope beat and conscious lyrics but it doesn’t feel very timely, it feels a little played out and a bit contrived. It reminds me Wole Sonyinka’s response to the French Negritude movement: “A tiger doesn’t proclaim its tigritude, it acts.” And although I’m still nodding my head to this, I prefer Hot Cheetos and Takis:
Boima Tucker: Hot Cheetos and Takis is cute… and real. Plenty youth I’ve run into out here think that’s what passes for a meal. American malnutrition. Let’s rap about it.
I think I still prefer to read a book (3.5 million views and counting) if we’re looking at novelty factor.
But if we’re talking about impact towards further action? I don’t know if any overt political message via popular culture can do that. These days especially, it seems that the subliminal (mainly fear) is what most moves people to action. A video like Big Frizzle’s is mostly useful, in our contemporary moment of digital identity politics, for those of us who are going to post it to our tumblrs and twitters. Now your followers can know you’re #fashionable #global AND #militant.
As far as militant Black British, it’s nice to see. Played out identity politics from the US perspective? Perhaps. But not being an insider to contemporary UK culture, it makes me want to find out more, and as Mikko illustrated, maybe collaborate with these folks. And that in itself I guess is a form of movement towards action.
I personally can’t wait for the video for Somali Malitia Mali Mob’s ‘Pirates’ to drop. The producer told me there will be lots of guns.
And all that’s why VYBZ KARTEL IS SO ENIGMATIC AND AMAZING!
Lascaux Flash 2013
On behalf of the editors at The Lascaux Review, welcome to the second annual Lascaux Flash Fiction Contest!
Essential Stuff
Using the photo prompt below, compose a work of short fiction, maximum length 250 words. The prompt is for inspiration only; entries will not be judged on how well they relate to it. Title and byline are not included in the word count.
Title and artist will be revealed at the end of the contest.
One entry per person. Submissions are presently open; we'll begin posting them on 6 March. Submissions close at midnight eastern time on 20 March (the Vernal Equinox). Submit your story using the Submittable form linked here:Submit to Lascaux Flash
You'll need to open a Submittable account, if you don’t already have one. It’s painless (also, since more and more journals are using this function to accept submissions, the account will come in handy (also, as Wendy can attest, they have the best customer support of any company this side of Alpha Centauri (I'm adding this sentence merely to create a third nested clause))).
The first thing you’ll notice is the option to donate $3. The donation is not required, and will not influence the judges either way. All money raised is used to help offset expenses, especially prize money.
Submittable attachments should look like this:
The Title of Your Story
by Your Name
Story begins, single spaced, with a blank line between paragraphs, no indents, and no unconventional formatting.
We’ll post entries on this site in the order they arrive. If you wish to contribute a story but do not want to compete for the prize, declare so in your submission. We’ll treat you as a guest writer. Any poems received will likewise be treated as guest entries.
Contest participants grant Lascaux the right to publish their entries. Authors retain copyright of their work. The editors and advisory board of The Lascaux Review will collectively select finalists and a winner, all of whom will be announced simultaneously as soon as decisions are made.
The winner receives $250 (a dollar a word) as well as the virtual medal depicted here, along with the right to display it on his or her online venues. The winning entry will be published in The Lascaux Review.
Finalists receive the virtual medal depicted here, along with the right to display it on their online venues:
Additional Stuff, Also Essential
You may include as many as two links with your submission, one to any social media site of your choice and another to any book you’ve published. We’ll link the former to your byline and direct the latter, via cover, to your Amazon page.
We use the word count function in Microsoft Word. If it says you’re over, you’re over, despite what other word counts may tell you. Some contestants try to shoehorn extra words in by combining them, e.g., “Maryhad alittle lamb, it’s fleece waswhite as snow.” Last year this amused us but did not fool us, as “Everywhere the cheaters went, a rejection was sure to go.”
Readers and contestants alike are invited and encouraged to comment on entries. If you wish to provide criticism, be specific and constructive.
The wrong way: “Your dialogue sounds amateurish.”
The right way: “Consider replacing dialogue tags like ‘he responded aggressively’ with a simple ‘he said,’ to focus the reader’s attention on the dialogue itself.”
I’ll comment in any manner I like, Steve and Wendy. What are you going to do about it? Hmm?
“Insensitive comments will be deleted,” Steve and Wendy responded aggressively.
A Word About the Advertising
Is it the money grubbing it appears to be? Yes and no. Like most start-up journals, Lascaux has been operating in the red almost from the beginning. We’ll be running more contests in the future, including short story and poetry contests, and attempting to raise money for them using Kickstarter. We have no expectation of making money in our endeavors, only of losing less. And hopefully someday breaking even.
So please forgive the ads. And if you can donate more than the $3 we desire (but do not require), we’ll launch so much good karma in your direction* that your soul will float through the spiritual ether in everlasting rapture.
*Provide your latitude and longitude to the nearest half-degree.
Please spread the word. About the contest as well as the Review. It's pronounced Lass-Co. We're new, but we're here to stay.
via lascauxflash.com
Repeal Day: When DADT Became History
Stories from the first year Lesbians and Gay
Service-Members Openly Served.
Seeking personal accounts of actions or experiences of serving LGBT military members and your families on 20 September 2011, date of the Don’t Ask, Don’t Tell (DADT) repeal and your experiences throughout the first year until the Anniversary date of 20 September 2012.
Did you take part in a celebration, make a point of coming out to those you work with, do a small yet significant or symbolic action (like try and update your DD 93 with a change of ‘friend’ to ‘spouse’) that marked the requirement from forced in the closest to finally able to be yourself and true about those who are your family? What is your story of how you experienced Repeal Day? What was the significance of the day for you and your family? How does the repeal affect you? In the months following September 20th, what was life like for you in the service? What was your experience in that first year? What are your thoughts, opinions, emotions, and observations for you and your family during this historic first year when LGBT service members were finally visible? Are you an ally? What was your experience of your compatriots no longer having to hide? Were you a leader? How did this impact your unit or leader responsabilities?
Submissions will be considered for the anthology Repeal Day – September 20, 2011, When DADT Became History, edited by Victoria Hudson.
Submit your story electronically via the submissions manager . Alternately, mail hard copy to MRD c/o Hudson, P.O. Box 387, Hayward, CA 94543. Please include your name, rank, service, phone number, email and snail mailing address
Deadline is October 1, 2013.
Two-Countries Anthology Introduction
Welcome to the blog for Two-Countries Anthology (TCA). This site is set up to provide ongoing information regarding submission guidelines and progress of the collection. I am a poet living in the Pacific Northwest and I have wanted to get this anthology underway for some years now. The official submission guidelines are below, followed by FAQ:
_________________________________________________________________
Call for submissions: Were you born in the U.S. and raised by immigrant mother/father/grandparents? The forthcoming anthology, Two-Countries: Daughters and Sons of Immigrant Parents, (working title) seeks poems, personal essays and flash memoir on this subject written by adults. Editor is an prize-winning poet raised by a U.S.-born father and an immigrant mother from El Salvador. Previously published work and simultaneous submissions ok. No deadline or publication date as of yet. Please submit no more than four poems, two personal essays (1,400 word limit each) and/or two flash memoirs (750 word limit each) as a WORD document attachment in New Times Roman 12 pt font to twocountriesanthology@gmail.com.
Please include in your cover letter a bit about your multi-cultural/bi-racial up-bringing and how that experience makes you you. A brief paragraph at most. We would like to include this along with your writer’s bio (if you have one) as a preface should your work be accepted.
FAQ:
Does TCA have a deadline?
No. Not at this time (Jan 2013) as we do not know how many submissions we will receive and which genre will dominate (poetry or non-fiction). Once we get an idea of what we have and what we will need we will up-date this site with a cut-off date for submissions.
Do you take simultaneous submission?
Yes, as stated in the guidelines. We will also consider previously published material. It will be YOUR responsibility as the writer to make sure that the journals you simultaneously submit your work to know that your work was accepted (IF we accept it) to a forthcoming anthology. The editors of the journal will let you know if that is ok with them or not. The policy on this varies from journal to journal. We will be glad to cite the original journal or book in which your work appeared or is forthcoming.
Must I have been born on US soil to submit?
No, but you must have been raised from a fairly early age (in your teens or earlier) in the U.S. by one or more immigrant parents. What is most important to meet the anthology’s theme is that you think of yourself as more of an American than your parents or grandparents and that you came of age realizing and noting the many dichotomies, tensions, conflicts, illuminations and your own sense-of-self that arise from being the “American” child of an immigrant parents/grandparents. These are the stories and imagery we are seeking.
What is the expected turn-around time for acceptance/rejection responses?
The typical turn-around time on responses to submissions for most journals is four to six months. I honestly do not think it will take that long, but I make no promises. I am a one-woman band, with a little help from my friends right now and we will do our best. If you cannot part with your work for at least six months than please do not send it.
Who is the publisher?
Like most collections just being constructed I do not have a committed publisher at this time. I am in the gathering and reading period. I plan to take several months (maybe even a year) to get the collection in top form and then submit it to University presses, presses who have demonstrated an interest in multi-cultural/bi-racial topics, and other small presses. I am experienced in getting books published and I am well-schooled in the industry. We have no doubt this collection will eventually find a home. When is unknown.
Who is the editor?
Please click on “About” located on the banner at the top of this page to learn more about me and our associate editor Jill McCabe Johnson.
We look forward to reading your work! Thank you.
Tina Schumann, Editor
Jill McCabe Johnson, Associate Editor