VIDEO: Paris Blues

Paris Blues

The music of Duke Ellington is given a film treatment by Martin Ritt with Paul Newman (of all people) as the trombone playing composer, Sidney Poitier as his best friend/sax player, Joanne Woodward as Newman's love interest, Dianne Carroll as the conscious black chick for Poitier and (thank heavens) Louis Armstrong as himself. There are also a couple of good supporting performances from Barbara Laage (as Marie Séoul) and André Luguet (as René Bernard).

PUB: MENIAL: Skilled Labor in SF (Anthology) – open submissions > Crossed Genres

MENIAL: Skilled Labor in SF (Anthology)

– open submissions

Other people treat laborers like the dirt they work with. But skilled labor is crucial to the continuation of human culture on earth – and if we ever wish to visit the stars, skilled labor will be indispensable.

We want stories about men and women who understand the nuts and bolts, the atmosphere and the water and the soil. You know – the things that keep us alive. We want characters who get their hands dirty every day; people who aren’t too proud to work their bodies at least as hard as their minds.

We welcome and strongly encourage submissions with underrepresented main characters: characters of color, LGBTQ characters, women characters, etc.!

Guidelines

  • Science Fiction stories (no Fantasy)

  • No stereotypes/caricatures of the lower classes

  • No retellings of John Henry (it’s a great story, it’s just done too often)

  • 2000-8000 words (firm)

  • Single-spaced, double-space between paragraphs. Use a standard font like Times New Roman or Arial, in 12 pt. (Note: Courier is evil.) Use DOC, DOCX or RTF format.

  • No simultaneous submissions. No reprints.

 

 

Rights & Compensation

    Crossed Genres Publications takes exclusive worldwide print and digital rights for 1 year, then non-exclusive worldwide print and digital rights for 2 more years.

 

Payment is a flat $20 USD, plus print and ebook copies of the anthology.

 



DEADLINE FOR SUBMISSIONS: MAY 31, 2012

 

To submit a story, use the submission form.

Send any questions to questions @ crossedgenres.com.

 

PUB: The Sherwood Anderson Foundation

How to Compete for a Grant

The Sherwood Anderson Foundation has been helping developing writers since 1988 in order to honor, preserve, and celebrate the memory and literary work of Sherwood Anderson, American realist of the first half of the twentieth century.

The amount of the award each year depends on a number of factors, including the investment market. The 2011 award was $15,000. Applications must arrive postmarked no later than April 1 of each year. The winner will be announced on or before the following September 1 on this website. If the applications are not deemed to have high literary merit, no award will be made in that year.

Application requirements:

  • Applicant has written at least one but no more than two published books of fiction. The books may be one novel and one collection of short stories but not more than two altogether. At least one book must have been published by a respected literary journal and/or trade or university publishers.

  • Submit three of the following by mail:
    • One published book of fiction, which may be a novel or a collection of short stories. Self-published works of fiction or short stories do not qualify.
    • Two additional writing samples - these may be book chapters, entire published books or individual short stories.

  • Include a resume with your submission that details your education and gives a complete bibliography of your publications.

  • Include a cover letter that provides a detailed history of your writing experience and your plans for future writing projects.

  • Include a valid, active email address and phone number.

  • Poetry is not accepted.

  • Submissions must be in English.

  • Include an application fee of $75 made payable to: Sherwood Anderson Foundation
This should be placed in a clearly labeled envelope and attached by a paper clip to the front of your application cover letter.

 

Mail your complete application to:
Sherwood Anderson Foundation
Anna McKean, President
12330 Ashton Mill Terrace
Glen Allen, Va. 23059

No email applications will be accepted.
No manuscripts or books will be returned.

 

PUB: Winter 2012 Story Contest > Narrative Magazine

Winter 2012 Story Contest

 

Our winter contest is open to all fiction and nonfiction writers. We’re looking for short shorts, short stories, essays, memoirs, photo essays, graphic stories, all forms of literary nonfiction, and excerpts from longer works of both fiction and nonfiction. Entries must be previously unpublished, no longer than 15,000 words, and must not have been previously chosen as a winner, finalist, or honorable mention in another contest.

 

Prior winners and finalists in Narrative contests have gone on to win other contests and to be published in prize collections, including the Pushcart Prize, Best New Stories from the South, the Atlantic prize, and others. View some recent awards won by our writers.

 

As always, we are looking for works with a strong narrative drive, with characters we can respond to as human beings, and with effects of language, situation, and insight that are intense and total. We look for works that have the ambition of enlarging our view of ourselves and the world.

 

We welcome and look forward to reading your pages.

 

Awards: First Prize is $2,500, Second Prize is $1,000, Third Prize is $500, and ten finalists will receive $100 each. All entries will be considered for publication.

 

 

Submission Fee: There is a $20 fee for each entry. And with your entry, you’ll receive three months of complimentary access to Narrative Backstage.

 

All contest entries are eligible for the $4,000 Narrative Prize for 2012 and for acceptance as a Story of the Week.

 

Timing: The contest deadline is March 31, 2012, at midnight, Pacific daylight time.

 

Judging: The contest will be judged by the editors of the magazine. Winners and finalists will be announced to the public by April 30, 2012. All writers who enter will be notified by email of the judges’ decisions. The judges reserve the option to declare a tie in the selection of winners and to award only as many winners and finalists as are appropriate to the quality of work represented in the magazine.

 

Submission Guidelines: Please read our Submission Guidelines for manuscript formatting and other information.

 

Other Submission Categories: In addition to our contest, please review our other Submission Categories for areas that may interest you.

 

POV: As Black as We Wish to Be - Thomas Chatterton Williams > NYTimes

As Black as We Wish to Be

Obama Presidential Campaign 2008, via Associated Press

Barack Obama with his maternal grandparents, Madelyn and Stanley Dunham, at his high school graduation in Hawaii in 1979.

MY first encounter with my own blackness occurred in the checkout line at the grocery store. I was horsing around with my older brother, as bored children sometimes do. My blond-haired, blue-eyed mother, exasperated and trying hard to count out her cash and coupons in peace, wheeled around furiously and commanded us both to be still. When she finished scolding us, an older white woman standing nearby leaned over and whispered sympathetically: “It must be so tough adopting those kids from the ghetto.”

The thought that two tawny-skinned bundles of stress with Afros could have emerged from my mother’s womb never crossed the lady’s mind. That was in the early 1980s, when the sight of interracial families like mine was still an oddity, even in a New Jersey suburb within commuting distance from Manhattan. What strikes me most today is that despite how insulting the woman’s remark was, we could nonetheless all agree on one thing: my brother and I were black.

Now we inhabit a vastly different landscape in which mixing is increasingly on display. In just three decades, as a new Pew Research Center study shows, the percentage of interracial marriages has more than doubled (from 6.7 percent in 1980 to approximately 15 percent in 2010), and some 35 percent of Americans say that a member of their immediate family or a close relative is currently married to someone of a different race. Thanks to these unions and the offspring they’ve produced, we take for granted contradictions that would have raised eyebrows in the past.

As a society, we are re-evaluating what such contradictions mean. The idea that a person can be both black and white — and at the same time neither — is novel in America.

Until the year 2000, the census didn’t even recognize citizens as belonging to more than one racial group. And yet, so rapid has the change been that just 10 years later, when Barack Obama marked the “Black, African Am., or Negro,” box on his 2010 census form, many people wondered why he left it at that.

If today we’ve become freer to concoct our own identities, to check the “white” box or write in “multiracial” on the form, the question then forces itself upon us: are there better or worse choices to be made?

I believe there are. Mixed-race blacks have an ethical obligation to identify as black — and interracial couples share a similar moral imperative to inculcate certain ideas of black heritage and racial identity in their mixed-race children, regardless of how they look.

The reason is simple. Despite the tremendous societal progress these recent changes in attitude reveal in a country that enslaved its black inhabitants until 1865, and kept them formally segregated and denied them basic civil rights until 1964, we do not yet live in an America that fully embodies its founding ideals of social and political justice.

As the example of President Obama demonstrates par excellence, the black community can and does benefit directly from the contributions and continued allegiance of its mixed-race members, and it benefits in ways that far outweigh the private joys of freer self-expression.

We tend to paint the past only in extremes, as having been either categorically better than the present or irredeemably bad. Maybe that’s why we live now in a culture in which many of us would prefer to break clean from what we perceive as the racist logic of previous eras — specifically the idea that the purity and value of whiteness can be tainted by even “one drop” of black blood. And yet, however offensive those one-drop policies may appear today, that offensiveness alone doesn’t strip the reasoning behind them of all descriptive truth.

In fleeing from this familiar way of thinking about race, we sidestep the reality that a new multiracial community could flourish and evolve at black America’s expense. Indeed, the cost of mixed-race blacks deciding to turn away could be huge.

With the number of Americans identifying as both black and white having more than doubled in the first decade of this century — from 785,000 to 1.8 million — such demographic shifts are bound to shape social policy decisions, playing a role in the setting and reassessing of national priorities at a time when Washington is overwhelmed with debt obligations and forced to weigh special interests and entitlement programs against each other.

Consider the impact that a broad redefinition of blackness might have on the nation’s public school system. In the past few years, the federal government has implemented new guidelines for counting race and ethnicity, which for the first time allow students to indicate if they are “two or more races.”

That shift is expected to change the way test scores are categorized, altering racial disparities and affecting funding for education programs. For this reason and others, the N.A.A.C.P. and some black members of Congress have expressed concern that African-Americans are at risk of being undercounted as blacks compete more than ever with other minorities and immigrants for limited resources and influence.

Scholars have long maintained that race is merely a social construct, not something fixed into our nature, yet this insight hasn’t made it any less of a factor in our lives. If we no longer participate in a society in which the presence of black blood renders a person black, then racial self-identification becomes a matter of individual will.

And where the will is involved, the question of ethics arises. At a moment when prominent, upwardly mobile African-Americans are experimenting with terms like “post-black,” and outwardly mobile ones peel off at the margins and disappear into the multiracial ether, what happens to that core of black people who cannot or do not want to do either?

Could this new racial gerrymandering result in that historically stigmatized group’s further stigmatization? Do a million innocuous personal decisions end up having one destructive cumulative effect?

LAST year, I married a white woman from France; the only thing that shocked people was that she is French. This stands in stark contrast to my parents’ fraught experience less than 10 years after the landmark 1967 case Loving v. Virginia overturned anti-miscegenation laws. It is no longer radical for people like my wife and me to come together.

According to the Pew report, while 9 percent of white newlyweds in 2010 took nonwhite spouses, some 17 percent of black newlyweds, and nearly one-quarter of black males in particular, married outside the race. Numbers like these have made multiracial Americans the fastest-growing demographic in the country. Exhortations to stick with one’s own, however well intentioned, won’t be able to change that.

When I think about what my parents endured — the stares, the comments, the little things that really do take a toll — I am grateful for a society in which I may marry whomever I please and that decision is treated as mundane. Still, as I envision rearing my own kids with my blond-haired, blue-eyed wife, I’m afraid that when my future children — who may very well look white — contemplate themselves in the mirror, this same society, for the first time in its history, will encourage them not to recognize their grandfather’s face.

For this fear and many others, science and sociology are powerless to console me — nor can they delineate a clear line in the sand beyond which identifying as black becomes absurd.

Whenever I ask myself what blackness means to me, I am struck by the parallels that exist between my predicament and that of many Western Jews, who struggle with questions of assimilation at a time when marrying outside the faith is common. In an essay on being Jewish, Tony Judt observed that “We acknowledge readily enough our duties to our contemporaries; but what of our obligations to those who came before us?” For Judt, it was his debt to the past alone that established his identity.

Or as Ralph Ellison explained — and I hope my children will read him carefully because they will have to make up their own minds: “Being a Negro American involves a willed (who wills to be a Negro? I do!) affirmation of self as against all outside pressures.” And even “those white Negroes,” as he called them, “are Negroes too — if they wish to be.”

And so I will teach my children that they, too, are black — regardless of what anyone else may say — so long as they remember and wish to be.

 

The author of “Losing My Cool: Love, Literature and a Black Man’s Escape from the Crowd.”

 

REVIEW: Movie - "Marley" (An Intimate Portrait Of A Man Who Would Become A World-Wide Phenomenon) > Shadow and Act

Review -

"Marley" (An Intimate Portrait

Of A Man Who Would Become

A World-Wide Phenomenon)

Reviews  by Monique A. Williams | March 16, 2012

Marley bills itself as the definitive Bob Marley documentary. It has reached that status.

An examination into the life of Reggae superstar Robert Nesta Marley, Marley is a beautiful combination of lush Jamaican landscape with archived footage, still shots and interviews of the people closest to him. The music is more than a soundtrack as the impetus for Bob writing each song becomes clear with the timeline of his life.

The film offers a closeness to Bob never before seen. He’s described as shy, thoughtful, and focused. It’s heartbreaking to hear that he was called “Outcast” for being a half-breed. The issues he has with his absent father, and the reunion with his half-siblings is beautiful and handled well cinematically. While his friends say he was loving, his children say he wasn’t a “lovey-dovey” dad. Their recollection of his competitiveness and rigidness in their time spent offers another dynamic to his personality. His daughter Cedella’s bitterness toward her father is evident, as she describes his living at Hope Road instead of in the house with them and the perceived ‘mistreatment’ of her mother.

The topic of Bob’s philandering is handled diplomatically, allowing Bob to speak on it with the women in his life providing their support. Rita Marley’s perspective on being more than a wife, but being his Guardian Angel, is thoughtful and kind. If there is any bitterness, it is not onscreen, as time might be the best healer. Still, I noticed that while light-skinned former Miss Jamaica World Cindy Breakespeare is the mother of his son Damian, she is described as his ‘girlfriend,’ yet Janet Bowen, his dark-skinned girlfriend with limited camera time, is labeled as his ‘baby mother’ as a way to still insert the filmmaker’s perspective.

From the early days of The JuvenilesBunny Wailer and Peter Tosh were more than Bob’s friends, truly his family. Bunny’s anecdotes and energy infuse a light heartedness that reminds you that this is a documentary on a man, not just a movement. The introduction of Chris Blackwell from Island Records and the eventual breakup of the original group is glossed over, as it might have been in Bob’s life. When his children are ostracized for having ‘weedhead parents,’ he tells them that “they don’t need friends; they have siblings,” and “not to trust people so much.

The film doesn’t discuss Bob’s feelings about the disbandment, but perhaps his advice to his children is telling. Of course, he adds the I-Threes, Rita, Marcia Griffiths and Judy Mowatt and the rest is history.

Marley’s life covers Jamaica’s most important events in the past 60 years, and the film attempts to do justice to them all, but there is no time to do so. The origins of reggae music are discussed, indicating the transition from ska to what is now known as reggae, but only scratches the surface regarding the downbeat. Though Bob was a force in Reggae music, he didn’t invent it, and Reggae: The Story of Jamaican Music does a better job of explaining this by interviewing people that weren’t in Bob’s camp.

Rastafari is discussed quite a bit in the film, certainly as its influence on Bob’s life was great. The filmmaker paints the picture that Haile Selassie was Bob’s de facto father. An actual “overstanding” is missed as it becomes more about Bob being a Rasta then what Rastafari is. Check out Hail the King if you want an in-depth analysis of Haile Selassie and the Rastafari influence in music.

The political unrest and economic issues are also used as a backdrop, but the film concentrates on Bob’s indifference to politics and the attempted murder for his perceived alliance with the incumbent Prime Minister Michael Manley. It says much about Bob that his influence in bringing about peace in Jamaica is due to his disinterest in politics. Life or Debt is a phenomenal documentary that provides more understanding of the reasoning behind the JLP and PNP gang wars in these times.

The archived and unseen footage are a genuine treat. To see LeeScratchPerry doing what he does best in the studio is a riot, especially if you’re familiar with his sound. The footage of Bob playing football was so sharp, it looked as if it was taken last week. The work put into this film is evident as you marvel at the quality and beauty of everything Bob. There are moments in the film where Bob sings and the screen only shows the Jamaican landscape and everything is alright with the world.

The career highs and lows are exciting to watch, knowing that he will become one of the greatest music superstars of all time. Coxsone’s dirty dealings, Island Records, going to UK to basically start from scratch, the limited play in the U.S., the Gabon concert, and the sold out shows of all white audiences are all detailed and supported with great documentation and interviews.

The melanoma that ensued from Bob’s toe was a point of contention in the film. Some say that the doctors advised him to remove the toe; others said he was to remove the leg all the way to the hip. The treatment they settled on clearly didn’t work, because years later, after passing out in the park, he found out the Cancer throughout his whole body and, despite rigorous German treatment, soon passed on. The fight is a hard one to watch onscreen. The montage at the end is worth staying through the credits. It is a pleasure to watch, uplifting and inspiring.

This year marks the 50th anniversary of Jamaica’s Independence. Bob Marley is, arguably, the finest thing to come out of Jamaica in this era.

Marley is certainly a film worth watching to celebrate the beauty that such an island can produce, something so great as to become a world-wide phenomenon.

 

 

 

VIDEO: Underwater Sculpture - Jason deCaires Taylor

UNDERWATER SCULPTURE
Jason deCaires Taylor

Jason deCaires Taylor is a man of many identities whose work resonates with the influences of his eclectic life. Growing up in Europe and Asia with his English father and Guyanese mother nurtured his passion for exploration and discovery. Much of his childhood was spent on the coral reefs of Malaysia where he developed a profound love of the sea and a fascination with the natural world. This would later lead him to spend several years working as a scuba diving instructor in various parts of the globe, developing a strong interest in conservation, underwater naturalism and photography. His bond with the sea remains a constant throughout Taylor's life though other key influences are found far from the oceans. During his teenage years, work as a graffiti artist fired his interest in the relationship between art and the environment, fostering an ambition to produce art in public spaces and directing the focus of his formal art training. He graduated in 1998 from the London Institute of Arts, with a B.A. Honours in Sculpture and Ceramics. Later, experience in Canterbury Cathedral taught him traditional stone carving techniques whilst five years working in set design and concert installations exposed him to cranes, lifting, logistics and completing projects on a grand scale.

With this range of experiences he was equipping himself with the skills required to execute the ambitious underwater projects that have made his name. Carving cement instead of stone and supervising cranes while in full scuba gear to create artificial reefs submerged below the surface of the Caribbean Sea, the various strands of his diverse life resolve themselves convincingly in the development of his underwater sculptures. These ambitious, public works have a practical, functional aspect, facilitating positive interactions between people and fragile underwater habitats.

Jason deCaires Taylor has gained significant interest and recognition for his unique work, with articles in over 1000 publications around the world, including National Geographic, Vogue, USA Today, Daily Telegraph and The Guardian. His sculptures have aired on television features and documentaries with CNN, Discovery Channel, BBC, Metropolis Art Lounge and Thalassa. His international reputation was established in May 2006, when he created the world's first underwater sculpture park in Grenada, West Indies, leading to both private and public commissions. Taylor is currently founder and Artistic Director of the Museo Subacuático de Arte (MUSA) in Cancun, Mexico.

 

VIDEO: Senegal's scenic island exposes horrors of slave trade > CNN.com

 

Senegal's scenic island

exposes horrors

of slave trade

From Errol Barnett, CNN

Thu February 23, 2012

Goree island, Senegal (CNN) -- A short ferry ride away from Dakar, lies the quiet and picturesque Goree Island. Three kilometers off the coast, the Senegalese island is tiny and easily accessible by foot.

Without cars or roads, the island preserves a charming ambiance with faded buildings revealing its European colonial history. Beneath its quaint facade, however, the island hides a brutal history.

Known as Senegambia at the time and located at the westernmost point in West Africa, Goree Island used to serve as a strategic trading post for the transatlantic slave trade -- African men, women and children were held and traded here before being loaded onto ships to the Americas. Estimates vary, but all of them place the number of Africans who died while in transit in the millions.

Eloi Coly has worked on the island for 26 years as a site manager. He is also the chief curator of the "House of Slaves," built by the Dutch in 1776, and is the last slave house remaining on the island and Coly has painstakingly preserved its history.

"The 900 meter-long island used to host around 28 slave houses. Today most have disappeared and turned into private houses," Coly told CNN during a tour of the house. "This one was chosen by the Senegalese state to keep the memory and remind all the people about the fragility of the liberties. People come from different countries... It's a place of memory and reconciliation."

On the ground floor of the house is the men's quarters where male slaves were housed in a row of cement cells. According to Coly, about 15-20 male slaves were packed in these 2.6 meter by 2.6 meter rooms; seated with their backs against the wall, chained around the neck and arms, they would usually have to wait in the room for about three months.

The conditions were so appalling and unsanitary that a major epidemic that ravaged the island in the 18th century started in these rooms, Coly said.

After the waiting period, the slaves would then be taken out of the cells for trade. They were then stripped naked and gathered in the courtyard in the middle of the house. The buyers and traders would lean over the balcony overlooking the courtyard and observe the slaves while negotiating prices.

They were treated exactly as merchandise not as human beings.
Eloi Coly, site manager

"Each ethnic group used to have a quoted price." said Coly, "They were treated exactly as merchandise not as human beings."

The selected slaves would then be taken from the courtyard through the corridor to the 'door-of-no-return'.

Located at the very back of the house, facing the Atlantic Ocean, the door leads to a wharf made of palm wood, where there would be a ship waiting to take the Africans across the ocean, never to return to their homes. Slaves that had fallen ill or died were also thrown into the ocean from this door, Coly said.

According to Coly, all parts of the house were utilized to facilitate the slave trade: small dark rooms underneath the staircases were used as punishment rooms, and the damp little rooms kept young girls and children separately from men for sale or the pleasure of the traders.

When asked how he could face the horrors done to his ancestors every day, Coly's answer came rather calmly: 'It is important to keep the memory of the victims, to consider that what happened is a part of the history of human being, not only history of Africans or blacks or whites.'

via cnn.com

 

HISTORY: Women of color in women's history: Part three—African-Americans > Daily Kos

Long before there was a United States, there was a myth that affected the naming of California, the myth of Califia, a black female Amazon queen.

Queen Califia


Califia's life and land "at the right hand of the Indies" were described in a novel written about 1510, by Garcia Ordonez Rodriguez de Montalvo, a Spanish writer, and was entitled "Las Serges des Esplandian". To some extent, this document helped to precipitate the Spanish hunt for gold in North America. In fact, thirty years later, when the explorer Cortes landed with his crew in what is known today as Baja California, it is said that he announced to his men (of which 300 were of African descent) that they had arrived in Califia's land. By 1770, the entire Pacific coast controlled by Spain had been given the name California, and the Spanish speaking people who lived there were called Californios. A portion of the original of this document was translated by Edward Everett Hale for The Antiquarian Society, and the story was printed in the Atlantic Monthly magazine in 1864.

The best known depictions of Queen Califia are murals done by well known artists. One seven foot high panel showing Califia as a Black woman with her Amazons is in The Room of the Dons at the Mark Hopkins Intercontinental Hotel in San Francisco, and was created for the opening of the hotel in 1926, by Maynard Dixon and Frank Von Sloun. Another famous depiction, created by Louise Lloyd and entitled "The Naming of California", can be seen in Sacramento in the Senate Rules Committee Hearing Chamber on the 4th floor of the State Building.

As I think about the contributions of real women of African descent to our history, I am proud of the roles we have played in this nation, even when many of those stories are as yet untold.

We are women of many facets and identities, and the term "African-American" today encompasses not only those African ancestored women born here, but also women who have migrated here from the Caribbean, the African continent, South and Central America.

I am not pleased by the way we are still stereotyped by racist misogynists, who use these memes to denigrate us, and re-enforce lies about our agency and role in history.

Sister Citizen, Melissa Harris Perry

 

One of the most recent books to address this is Sister Citizen: Shame, Stereotypes, and Black Women in America, by Melissa Harris Perry.

Jezebel's sexual lasciviousness, Mammy's devotion, and Sapphire's outspoken anger—these are among the most persistent stereotypes that black women encounter in contemporary American life. Hurtful and dishonest, such representations force African American women to navigate a virtual crooked room that shames them and shapes their experiences as citizens. Many respond by assuming a mantle of strength that may convince others, and even themselves, that they do not need help. But as a result, the unique political issues of black women are often ignored and marginalized.

There are too many important books to read by and about my sisters for me to highlight them here. There are too many black women's lives and issues to explore in one short essay.

During my tenure here at Daily Kos, I have attempted to tell some of those stories and recommend further reading. Rather than repeat, I prefer to link to them.

(Continue reading below the fold)

 

As one of the editors of Black Kos, and in individual posts of my own, I've written about politicians like Barbara Jordan, Shirley Chisholm, Maxine Waters, Kamala Harris and presidential adviser Valerie Jarrett.

Our activism as black women has not been primarily as elected officials, and our political activities have spanned the time of enslavement through reconstruction, women's suffrage and the civil rights and revolutionary movements. Activists like Fannie Lou Hamer and Ella Baker, contemporary radicals like Angela Davis, and historical giants like Mary McLeod Bethune have all contributed to our strides forward. There were sisters who became the test cases for integration like journalist Charlayne Hunter-Gault, and those women whose lives shaped judicial history like Harriet Scott whose case is part of the Dred Scott decision.

Our role in demanding the vote and a place in the women's suffrage movement was key, led by women like Ida Wells Barnett, Anna Julia Cooper and Mary Church Terrell.

We've covered issues that confront us like the high rates of infant mortality, and organizing efforts by domestic workers.

Important to mention are black women's contributions to the arts, from Mahalia Jackson and dancer anthropologist Katherine Dunham, through rhythm and blues, to new artists like Esperanza Spaulding.

I decided to dip back into history today to highlight a woman who is rarely mentioned: Sarah Parker Remond.

 

Were it not for the work of historian and librarian Dorothy Porter Wesley, who wrote Sarah Parker Remond, Abolitionist and Physician in the Journal of Negro History, I may not have ever learned about Redmond.

Born free in 1826 in Salem Massachusetts, Redmond's family members were activists and abolitionists.

Salem in the 1840s was a center of anti-slavery activity. The whole family was committed to the abolition movement. They played host to many of the movement's leaders, including William Lloyd Garrison and Wendell Phillips, and to more than one fugitive slave fleeing north. Her father was a life member of the Massachusetts Anti-Slavery Society; and her older brother Charles Lenox Remond was the American Anti-Slavery Society's first black lecturer and the nation's leading black abolitionist until Frederick Douglass appeared on the scene in 1842. Along with her mother and sisters, Remond was an active member of the state and county female anti-slavery societies.

In 1853, Remond was forcibly removed and pushed down a flight of stairs at the Howard Athenaeum in Boston where she had gone to attend an opera, Don Pasquale, for which she had purchased a ticket. This incident stemmed from her refusal to sit in a segregated section for the show. Remond sued for damages and won her case. She was awarded $500, which did not compensate for her injury and embarrassment, but her goal was not to make money on the case but to force an admission that she was wronged.

What fascinated me about Redmond was the fact that she was not only active here in the U.S., but that she left the U.S. to take the anti-slavery message to Europe.
A clear and forceful speaker, Remond lectured to enthusiastic crowds in cities throughout England, Scotland and Ireland, and raised large sums of money for the anti-slavery cause. Once the Civil War began, she worked to build support in Britain for the Union blockade of the Confederacy and influenced public opinion in Britain to support the Union cause. At the end of the war, she lectured on behalf of the Freedmen, soliciting funds and clothing for the ex-slaves. She was an active member of the London Emancipation Society and the Freedman's Aid Association in London.
Key were her attempts to combat bigotry in Ireland.
The second part of her tour took her to Dublin. Relations between Ireland and the United States had been multiplied during the preceding decade. Vast numbers of Irish people, impoverished by successive failures of the potato harvest, had emigrated in search of new opportunities for survival, if not for prosperity, some to the slave states but most to the more opulent North. Sarah Remond endeavored to build antislavery sentiment among her Irish listeners, for Irishmen had a potential influence among affluent visitors from American slave states who were making the "grand tour" of the British Isles. They also had an influence upon relatives and friends already in America, some of whom had succumbed to proslavery dialectics: Too many who perhaps had felt persecution themselves, and had left the country filled with aspirations for human freedom, had no sooner become residents in America and had dwelt there sufficiently long to become imbued with the all prevailing spirit of intolerance inculcated by the slave-holders, than they were to be found to go the fullest length which tyranny could desire, "going the whole ticket" in the pro-slavery interest.
(Black Women in Nineteenth-Century American Life: Their Words, Their Thoughts, Their Feelings)

In 1866, her decision to become a physician at age 42, was a courageous one, an opportunity she would not have had in the U.S. She is buried in Italy, where she died in 1894.

I think about the opportunities she had and contrast them with the life of my great-grandmother Amelia "Millie" Weaver Roberts. Born into slavery in Loudoun County, Virginia, in 1835, she was the daughter of an herbalist and midwife and became one at an early age. Had it been possible for her to have become a physician, she would have done so, though she did live long enough to see two of her sons fulfill that dream.  

Amelia "Millie" Weaver Roberts

 

She was famous in Loudoun County for healthy deliveries and healthy mothers, who never died of childbed fever. She birthed all of her own children, not allowing anyone else to assist, in fear that they would not practice proper sanitary procedures.  

My Aunt Mildred told me that great-grandmother Millie boiled everything—sheets, towels—and sterilized her birthing instruments in the oven at a time when many doctors never even washed their hands before touching a patient. Her clients were both black and white. She passed on her knowledge of herbs and healing to her sons and daughters, and one of her sons went on to become a doctor, another a dentist.

I dedicate this post today to her memory, and to the memory of all those black foremothers, without whom we would not be here today, still fighting for our rights.
And to all those sisters who are role models for future generations of young women and men. A special shout out to our first lady, Michelle Robinson Obama. Who makes me really proud.

Please share with us today the black women who have had an impact on your lives.

Originally posted to Daily Kos on Sun Mar 18, 2012

 

HISTORY: Women of color in women's history: Part three—African-Americans > Daily Kos

Long before there was a United States, there was a myth that affected the naming of California, the myth of Califia, a black female Amazon queen.

Queen Califia

Califia's life and land "at the right hand of the Indies" were described in a novel written about 1510, by Garcia Ordonez Rodriguez de Montalvo, a Spanish writer, and was entitled "Las Serges des Esplandian". To some extent, this document helped to precipitate the Spanish hunt for gold in North America. In fact, thirty years later, when the explorer Cortes landed with his crew in what is known today as Baja California, it is said that he announced to his men (of which 300 were of African descent) that they had arrived in Califia's land. By 1770, the entire Pacific coast controlled by Spain had been given the name California, and the Spanish speaking people who lived there were called Californios. A portion of the original of this document was translated by Edward Everett Hale for The Antiquarian Society, and the story was printed in the Atlantic Monthly magazine in 1864.

The best known depictions of Queen Califia are murals done by well known artists. One seven foot high panel showing Califia as a Black woman with her Amazons is in The Room of the Dons at the Mark Hopkins Intercontinental Hotel in San Francisco, and was created for the opening of the hotel in 1926, by Maynard Dixon and Frank Von Sloun. Another famous depiction, created by Louise Lloyd and entitled "The Naming of California", can be seen in Sacramento in the Senate Rules Committee Hearing Chamber on the 4th floor of the State Building.

As I think about the contributions of real women of African descent to our history, I am proud of the roles we have played in this nation, even when many of those stories are as yet untold.

We are women of many facets and identities, and the term "African-American" today encompasses not only those African ancestored women born here, but also women who have migrated here from the Caribbean, the African continent, South and Central America.

I am not pleased by the way we are still stereotyped by racist misogynists, who use these memes to denigrate us, and re-enforce lies about our agency and role in history.

Sister Citizen, Melissa Harris Perry

One of the most recent books to address this is Sister Citizen: Shame, Stereotypes, and Black Women in America, by Melissa Harris Perry.

Jezebel's sexual lasciviousness, Mammy's devotion, and Sapphire's outspoken anger—these are among the most persistent stereotypes that black women encounter in contemporary American life. Hurtful and dishonest, such representations force African American women to navigate a virtual crooked room that shames them and shapes their experiences as citizens. Many respond by assuming a mantle of strength that may convince others, and even themselves, that they do not need help. But as a result, the unique political issues of black women are often ignored and marginalized.

There are too many important books to read by and about my sisters for me to highlight them here. There are too many black women's lives and issues to explore in one short essay.

During my tenure here at Daily Kos, I have attempted to tell some of those stories and recommend further reading. Rather than repeat, I prefer to link to them.

(Continue reading below the fold)

As one of the editors of Black Kos, and in individual posts of my own, I've written about politicians like Barbara Jordan, Shirley Chisholm, Maxine Waters, Kamala Harris and presidential adviser Valerie Jarrett.

Our activism as black women has not been primarily as elected officials, and our political activities have spanned the time of enslavement through reconstruction, women's suffrage and the civil rights and revolutionary movements. Activists like Fannie Lou Hamer and Ella Baker, contemporary radicals like Angela Davis, and historical giants like Mary McLeod Bethune have all contributed to our strides forward. There were sisters who became the test cases for integration like journalist Charlayne Hunter-Gault, and those women whose lives shaped judicial history like Harriet Scott whose case is part of the Dred Scott decision.

Our role in demanding the vote and a place in the women's suffrage movement was key, led by women like Ida Wells Barnett, Anna Julia Cooper and Mary Church Terrell.

We've covered issues that confront us like the high rates of infant mortality, and organizing efforts by domestic workers.

Important to mention are black women's contributions to the arts, from Mahalia Jackson and dancer anthropologist Katherine Dunham, through rhythm and blues, to new artists like Esperanza Spaulding.

I decided to dip back into history today to highlight a woman who is rarely mentioned: Sarah Parker Remond.

Were it not for the work of historian and librarian Dorothy Porter Wesley, who wrote Sarah Parker Remond, Abolitionist and Physician in the Journal of Negro History, I may not have ever learned about Redmond.

Born free in 1826 in Salem Massachusetts, Redmond's family members were activists and abolitionists.

Salem in the 1840s was a center of anti-slavery activity. The whole family was committed to the abolition movement. They played host to many of the movement's leaders, including William Lloyd Garrison and Wendell Phillips, and to more than one fugitive slave fleeing north. Her father was a life member of the Massachusetts Anti-Slavery Society; and her older brother Charles Lenox Remond was the American Anti-Slavery Society's first black lecturer and the nation's leading black abolitionist until Frederick Douglass appeared on the scene in 1842. Along with her mother and sisters, Remond was an active member of the state and county female anti-slavery societies.

In 1853, Remond was forcibly removed and pushed down a flight of stairs at the Howard Athenaeum in Boston where she had gone to attend an opera, Don Pasquale, for which she had purchased a ticket. This incident stemmed from her refusal to sit in a segregated section for the show. Remond sued for damages and won her case. She was awarded $500, which did not compensate for her injury and embarrassment, but her goal was not to make money on the case but to force an admission that she was wronged.

What fascinated me about Redmond was the fact that she was not only active here in the U.S., but that she left the U.S. to take the anti-slavery message to Europe.
A clear and forceful speaker, Remond lectured to enthusiastic crowds in cities throughout England, Scotland and Ireland, and raised large sums of money for the anti-slavery cause. Once the Civil War began, she worked to build support in Britain for the Union blockade of the Confederacy and influenced public opinion in Britain to support the Union cause. At the end of the war, she lectured on behalf of the Freedmen, soliciting funds and clothing for the ex-slaves. She was an active member of the London Emancipation Society and the Freedman's Aid Association in London.
Key were her attempts to combat bigotry in Ireland.
The second part of her tour took her to Dublin. Relations between Ireland and the United States had been multiplied during the preceding decade. Vast numbers of Irish people, impoverished by successive failures of the potato harvest, had emigrated in search of new opportunities for survival, if not for prosperity, some to the slave states but most to the more opulent North. Sarah Remond endeavored to build antislavery sentiment among her Irish listeners, for Irishmen had a potential influence among affluent visitors from American slave states who were making the "grand tour" of the British Isles. They also had an influence upon relatives and friends already in America, some of whom had succumbed to proslavery dialectics: Too many who perhaps had felt persecution themselves, and had left the country filled with aspirations for human freedom, had no sooner become residents in America and had dwelt there sufficiently long to become imbued with the all prevailing spirit of intolerance inculcated by the slave-holders, than they were to be found to go the fullest length which tyranny could desire, "going the whole ticket" in the pro-slavery interest.
(Black Women in Nineteenth-Century American Life: Their Words, Their Thoughts, Their Feelings)

In 1866, her decision to become a physician at age 42, was a courageous one, an opportunity she would not have had in the U.S. She is buried in Italy, where she died in 1894.

I think about the opportunities she had and contrast them with the life of my great-grandmother Amelia "Millie" Weaver Roberts. Born into slavery in Loudoun County, Virginia, in 1835, she was the daughter of an herbalist and midwife and became one at an early age. Had it been possible for her to have become a physician, she would have done so, though she did live long enough to see two of her sons fulfill that dream.  

Amelia "Millie" Weaver Roberts

She was famous in Loudoun County for healthy deliveries and healthy mothers, who never died of childbed fever. She birthed all of her own children, not allowing anyone else to assist, in fear that they would not practice proper sanitary procedures.  

My Aunt Mildred told me that great-grandmother Millie boiled everything—sheets, towels—and sterilized her birthing instruments in the oven at a time when many doctors never even washed their hands before touching a patient. Her clients were both black and white. She passed on her knowledge of herbs and healing to her sons and daughters, and one of her sons went on to become a doctor, another a dentist.

I dedicate this post today to her memory, and to the memory of all those black foremothers, without whom we would not be here today, still fighting for our rights.
And to all those sisters who are role models for future generations of young women and men. A special shout out to our first lady, Michelle Robinson Obama. Who makes me really proud.

Please share with us today the black women who have had an impact on your lives.

Originally posted to Daily Kos on Sun Mar 18, 2012