VIDEO: Trailer for documentary film Preacher > Shadow And Act

Watch now –

Trailer for documentary film

Preacher

By Sergio, on April 10th, 2011

Here’s the trailer for the upcoming documentary film Preacher which is about to hit the film festival circuit this year. It’s a low key, straight-forward, but very sincere and touching film about the life and work of Bishop William Powell a Pentecostal fundamentalist preacher in Virginia.

The film is the latest work by Chicago based filmmaker Daniel Kraus as part of his continuing Work Series documentaries in which he chronicles the lives of ordinary people and the day-to-day work that they do.

 

VIDEO+ INTERVIEW: Janelle Monáe - Live at Glastonbury 2011 (06/25/11) ‏

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Janelle Monae poses regally on the cover of the current issue of Rolling Out Magazine .

The photo shoot which was inspired by the magic of 19th century France, took place in the ballroom Paris on Ponce, an antique store in Midtown Atlanta .

 The singer reveals what sparked her musical creativity.

“I was inspired by knowing that I came from an environment that didn’t have the greatest resources. But you used your imagination more because you didn’t have all of those elements. That’s where I cultivated my imagination and gift for writing plays and creating characters and alternate worlds. I started to go there [mentally] as a result of not having everything. Artistically and creatively, I’m able to go to worlds where no one else can go.

“Music is a stimulant to getting in tune with your imagination. Art inspires art. A movie can inspire a song, and a painting can inspire a performance. It’s important to exercise that and write as much as you can. Albert Einstein said it best, ‘Imagination is more important than knowledge.’ If that’s not enough, I don’t know what else is.”

Check out the photos below along with footage from the shoot and read the rest of Janelle’s Rolling Out article here.

Photo Credit: Rolling Out

Read more: http://iluluonline.com/janelle-monae-magical-rolling-out-magazine-photo-shoot/#ixzz1QjCxDj9q 

 

>via: http://iluluonline.com/janelle-monae-magical-rolling-out-magazine-photo-shoot/

 

PUB: Bastiat X Prize: $70,000 for journalists who support the free society | International Policy Network

Bastiat X Prize: $70,000 for journalists who support the free society

By IPN

Monday, June 20, 2011

 

In celebration of its tenth anniversary, the Bastiat Prize for Journalism this year will have a total prize fund of $70,000, with a First prize of $50,000, Second prize of $15,000 and Third prize of $5,000.

International Policy Network (IPN) is now accepting submissions for its Tenth Bastiat Prize for Journalism. The Prize is open to writers anywhere in the world whose published articles eloquently and wittily explain, promote and defend the principles and institutions of the free society.

Submissions must be received on or before July 31, 2011. All submissions must be made through the online entry form.

Please note that this year IPN has established a new Hoiles Prize for Regional Journalism and will not be running a separate online prize. Authors of blogs and other online articles are encouraged to enter either the Bastiat Prize or the Hoiles Prize.

More Information:

Rules: http://www.policynetwork.net/2011-bastiat-prize-rules

Online entry form: http://www.policynetwork.net/2011-bastiat-hoiles-entry-form

 

PUB: Afroconscious poetry competition Lesotho -::Lyrical Bacteria::-

AFROCONSCIOUS Poetry competition LESOTHO

AFROCONSCIOUS, a South –African published art and literature journal featuring poets and writers from Southern Africa presents AFROCONSCIOUS Poetry competition –LESOTHO
This competition which is strictly for Lesotho poets invites all interested poets to write a poem(s) under two themes and stand a chance of 1) Winning the first AfroConscious journal copy (published 2010), 2) having their poem(s) published on the Lyrical Bacteria blog [www.sechabalb.wordpress.com] and the U WRITE WHAT U LIKE BLOG [www.uwritewhatulike.blogspot.com] 3) as well as a chance to be featured in the next AfroConscious issue.
Two themes for the competition which will span two months, with each month having its own theme are; FREEDOM & ACTIVISM AGAINST VIOLENCE TOWARDS CHILDREN AND WOMEN.
The theme for the month of July is; FREEDOM (what you think of freedom, your personal definition of freedom etc).
Entries will be accepted from July 1st to July 20th. Poems can be submitted to following email: sechabalb@gmail.com or meet in person with the coordinator, SECHABA KEKETSI via the email given, Twitter: twitter.com/bacterialyrical or Facebook: www.facebook.com/skeketsi1 or contact telephonically: +266 6337 3926

PUB: Calyx Publishing Journal and Books

Submission Guidelines

 

CALYX Books

CALYX Books announces an open submission period for unsolicited book manuscripts of novels, novellas, and linked short story collections of any genre from July 1-August 31, 2011.

Submissions should contain three chapters or sections (approximately 15,000 words), a table of contents (if appropriate), and a synopsis.

All manuscripts should be double-spaced and include page numbers, the manuscript title, and the author's name. Submit a cover letter with biographic information, list of previous publications (if desired), and contact information.

Send materials to:

CALYX Books

PO Box B

Corvallis, OR 97339

Materials submitted that do not follow the guidelines above will not receive consideration. Allow four to six months for response from the editorial board.


CALYX Journal

CALYX, A Journal of Art and Literature by Women, accepts submissions of poetry, short fiction, visual art, essays, reviews, and interviews. The writer's/artist's guidelines are as follows:

 

The ANNUAL open submission period for prose and poetry for CALYX Journal is October 1 - December 31 (postmark dates). We are ALWAYS open for ART submissions and BOOK REVIEWS.

Prose (includes essays) should be double-spaced and not exceed 5,000 words

Poetry submissions are limited to 6 poems.

Interviews should be double-spaced and limited to 2,500 words.

Book Reviews should be double-spaced and from 500 to a maximum of 1,000 words. Reviews of chapbooks should be limited to 50-100 words. If you are interested in reviewing books, please send a resume, published samples of review writing, and an SASE. After reviewing these, we will contact you about the book review list. We’re always open for reviews. Please see complete guidelines here

Visual Art should be submitted (1) electronically—via CD or E-mail; or (2) 5"x7" or 8"x10" glossy photographs; or (3) 35mm slides. Separate guidelines for electronic art are available. Limit of 6 images and/or slides and/or photos. All art media are considered. Please include list of all images/photos/ slides with your name, titles, media, dimensions. Also mark the top of the work. Make sure all the proper information is included when sending art electronically. Include a 50-word biographical statement AND a separate 50-word statement about your artwork. Submit art separately from prose and poetry. WE PUBLISH COLOR ART INSIDE CALYX JOURNAL NOW.

 
 

ALL SUBMISSIONS (prose, poetry, art, reviews) should include author's name on each page and be accompanied by a brief (50-word or less) biographical statement, a SASE (self-addressed, stamped envelope with “forever stamp”), phone number, and e-mail address. Even if you indicate that it is unnecessary to return your submission(s), please enclose a SASE for your notification. Prose and poetry should be submitted separately with separate SASEs for each submission category.

Send materials to:

CALYX Journal

PO Box B

Corvallis, Oregon 97339

CALYX assumes no responsibility for submissions received without adequate return postage, packaging, or proper identification labels. CALYX can respond to submission queries accompanied by a self-addressed, stamped envelope or by email. We only accept electronic submissions for art submissions and prose and poetry from overseas. Every effort is made to respond to submissions in a timely manner, but CALYX receives a large number of submissions when open, and it may take six to nine months to read and review everything received. Simultaneous submissions are accepted.

A contributor’s payment for publication in CALYX Journal includes copies of the issue (re pages published in Journal) and a one-volume subscription following that issue.

Sample copies of CALYX Journal are available for $10. plus $4.00 postage (U.S.) and handling; see subscription information or front page of CALYX Journal or write us for subscription information.

 

 

VIDEO + AUDIO: Cauleen Smith Talks The Power Of Cinema, Afrofuturism + Watch Some Of Her Recent Short Pieces > Shadow and Act

Cauleen Smith Talks

The Power Of Cinema,

Afrofuturism + Watch

Some Of Her 

 Recent Short Pieces

I love this except from a recent interview with award-winning writer/director Cauleen Smith, which comes courtesy of BOMB Magazine, in which Smith discusses “Afrofuturism and its struggle with memory” with photographer Leslie Hewitt.

Cauleen maybe best known in the film world for her 1998 feature film debut, Drylongso, co-written by Salim Akil (Girlfriends, The Game, Jumping The Broom) - a coming-of-age drama about a young woman who begins photographing, for preservation purposes, what she deems “America’s most endangered species,” African-American males.

The film itself is very hard to find. It’s not on DVD, as far as I know. You might be able to get a VHS copy on eBay.

After Drylongso, Cauleen tried to get her second feature financed, without success; despite it being selected as a Tribeca All-Access Project, a few years ago. Titled I Am Furious Black, the script’s synopsis read, “A loner detective investigates the homicide of a media-shy graphic novelist who sabotages her own career to the detriment of her family, friends and business partner.” Upon hearing about it, I was instantly hooked, even though I hadn’t read a word of the script. But knowing the filmmaker, whom I had a few email exchanges with some years ago, when I first wondered what happened to that project, I had enough reason to be intrigued.

She’s currently a professor of Visual Arts at the University of California, in San Diego. The picture above is several years old, but I couldn’t find a recent one that was large enough to use here.

Listed to the interview except below. You’ll have to purchase a copy the current issue of the mag in order to get the full interview, so consider this a tease. You can do so via its website HERE, where you’ll also find several embeds of Cauleen’s recent short pieces, like the one underneath the interview player, which I encourage you to watch.

  Cauleen Smith Interview Excerpt With BOMB Magazine by Shadow And Act

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INFO: Introducing: The Octavia Butler Book Club > Racialicious

 

Octavia Butler was Racialicious before we even existed.

The late author is a cult icon, being a boundry breaking black woman in Science Fiction who infused her writing with rich societal commentary on race, gender, dominance, and much much more.

Last year, the University Press of Mississippi was kind enough to send me a review copy of Conversations with Octavia Butler, a collection of her interviews, edited by Consuela Francis. The interviews (some of which I will excerpt in later posts) were illuminating, revealing Butler’s damn near prophetic grasp of the underlying challenges facing our society. Quite a few of these interviews are from the 1980s and 1990s – her words still apply in 2011.

I savored the book as long as I could, but when I finally finished, I felt a deep and profound sense of loss. As just a casual reader before, I was suddenly confronted with the magnitude of exactly what went with Octavia Butler when she departed from this earth.

So I decided the best tribute would be to read, share, and enjoy her work.

Readers, welcome to the book club.

I’ve had a somewhat haphazard approach to Butler’s work. At first, I had only read Fledgling, on a recommendation for more black supernatural fiction. Then I read Conversations, and finished both Mind of My Mind and Bloodchild last week.

So, in a sense, I am starting over. (Hopefully, others long familiar with Butler’s work will do the same.)

Officially, we will start July 1 with the reading of Wild Seed.

As a new collector of Butler’s work (most of what I’ve read so far were borrowed from the library), I am going to purchase Seed to Harvest, a collection of the Patternmaster series. For those of you working the library, it may take some doing to locate all of Butler’s works – many of the books only have a few copies system, so use this extra week to start tracking things down.

We will also attempt to read Survivor, if we can locate it. Butler declined to have the book reprinted, since she felt like it wasn’t up to her own standards.

We will read one book a month. Each week, a post will go up around the book, perhaps some interesting dialogue, a question on themes, or an essay on a particularly interesting topic bridged in the books. We will also throw in some scholarly works on Butler, and, if I can, take the next logical step…develop a show pilot around her work. The talent pool on Racialicious is huge, and it would be fun to crowd-workshop a pilot, I think. And at least we know we won’t have the same drama as Earthsea.

So here’s the schedule:

July – Wild Seed
August – Mind of My Mind
September – Clay’s Ark
October – Patternmaster
November – Kindred
December – Survivor?; If Not, Bloodchild
January – Dawn (Xenogenesis/Lillith’s Brood)
February – Adulthood Rites (Xenogenesis/Lillith’s Brood)
March – Imago (Xenogenesis/Lillith’s Brood)
April – Parable of the Sower
May – Parable of the Talents
June – Fledgling
July – Conversations with Octavia Butler

It’s a whole year of reading. Book club membership requires nothing but you reading the books – you don’t have to follow our order, but this shows the shape of the conversation.

Also, a note. My religious education is rather lacking in the finer details, and I’ve noticed that Butler (despite her own ambivalence toward organized religion) plays a lot with biblical style themes. So if someone notices a particularly interesting religious correlation, please speak up and help host a discussion. I will probably miss it.

 

VIDEO: 'Gun Hill Road', Not Your Typical Bronx Tale > Bronx News Networkbronx

Friday, June 3, 2011

'Gun Hill Road',

Not Your Typical Bronx Tale

<br />Gun <i>by moviestune</i>

After three years in prison, Enrique (Esai Morales) returns home to the Bronx to find the world he knew has changed. His wife, Angela (Judy Reyes), struggles to hide an emotional affair, and his teenage son, Michael (Harmony Santana), explores a sexual transformation well beyond Enrique’s grasp and understanding. Unable to accept his child, Enrique clings to his masculine ideals while Angela attempts to hold the family together by protecting Michael.

Cast and Credits

Starring: Judy Reyes, Isiah Whitlock Jr., Esai Morales, Miriam Colon, Vincent Laresca
Directed by: Rashaad Ernesto Green
Release Year: 2011

 

__________________________

 

Editor's note: A version of this story appears in the latest issue of the Norwood News, out on streets now.

By Alex Kratz

One of the great pleasures of watching “Gun Hill Road,” a new independent film by Bronx native Rashaad Ernesto Green that debuted in front of a New York audience during the first-ever Bronx Week Film Festival in mid-May, is its familiarity.

Look, there’s New Capitol diner on Kingsbridge Road and Jerome! Is he getting on the 2 train or the 4 train? Wait, isn’t that the bodega on Gun Hill Road in Norwood?

“The Bronx itself is a character,” Green said during a question-and-answer session after the screening.

While the setting, characters and dialogue all feel like the Bronx, the storyline deals with difficult topics — most notably, transgender lifestyle choices and how they play out in Latino families — that are only now starting to be discussed openly in the borough.

The history of Bronx-based film is filled with crime stories and gangster tales (think: “A Bronx Tale,” “Fort Apache, The Bronx,” or “The Wanderers”). And “Gun Hill Road,” shot entirely in the Bronx, contains some of those elements. It begins with a prison cafeteria stabbing carried out by the main character, a father played by Bronx-native Esai Morales, who has lived a life of crime.

But the heart of the story centers around how Morales’ character, having just been released from prison, deals with the discovery that his teenage son is transgender. Green, whose family has long hailed from the area around Gun Hill Road and Burke Avenue, says the story is based on a family member who dealt with issues similar to those Morales’ character deals with in the film. Although it’s not your usual Bronx “shoot-em-up” flick, one audience member said, “This is a film we in the Bronx need to see.”

When watching “Gun Hill Road” and the father’s anger about his son’s lifestyle, I kept thinking about the anti-gay hate crimes carried out last year in Morris Heights. That episode drew national attention, forced the borough to confront gay, lesbian, bisexual and transgender (LGBT) issues and led to a handful of Bronx “pride” marches. (On Tuesday night, there was a LGBT town hall forum at Mosholu Montefiore Community Center to discuss the very issues put forward in “Gun Hill Road.”)

This movie could be similarly impactful. In “Gun Hill Road,” we not only see the father’s struggle with these issues as a parent, but we see the son, played brilliantly by Harmony Santana, going through them first-hand. The effect is that the unfamiliar becomes familiar. This is the other great pleasure of watching “Gun Hill Road.”

The film — which has packed movie houses from Utah to Toronto (and garnered about 100 audience members in the Bronx) — is set to be released at selected theaters in early August.

Editor’s Note: For more information on this film and upcoming screenings, find “Gun Hill Road” on Facebook.

 

INTERVIEW: Emmanuel Iduma - Literary Nigeria: Saraba Magazine > Black Looks

Literary Nigeria:

Saraba Magazine

by Sokari on September 2, 2010

Saraba is an online literary magazine created and published by Emmanuel Iduma and Damilola Ajayi, two Nigerian students of the University of Ife. Saraba has just published its 6th edition in just 18 months and has gone from strength to strength. There are a number of Nigerian run literary blogs such as Bookaholic, and Wordsbody by Molara Wood as well as websites like Sentinel Nigeria,and Nigeria Fiction. But Saraba for my mind remains the most comprehensive and progressive literary journal with the potential to move well beyond Nigeria. It is a work of the heart with very little funding and my hope is this short interview will encourage readers to support Emmanuel and Damilola in their work.

SE: Lets start with some background on how you came about the idea of Saraba. When and why did you imagine you could put together a literary magazine? Did you decide alone or did you have a series of conversations with friends and how long was it from the idea to publishing the first issue. How did you cover the costs.

EI: The idea of Saraba was borne after a Colloquium of New Writing I organized alongside two friends, in late 2008 in Obafemi Awolowo University where we school and reside. So, basically, in late 2008, dissatisfied and disenchanted with the loads of rejection mails we were receiving, Damilola Ajayi and myself felt we could start an electronic magazine with little or no sensibility and with support for emerging writers. Of course, we had to immediately define ‘emerging writers;’ and we took the phrase to mean young (or old!) writers who have been published little or not at all, but whose writing showed promise and talent. This definition was necessarily from the viewpoint of ourselves and our writing, since we easily sufficed to be described as such writers.

The time between the decision to begin and our first issue was about three months – November 2008 – February 2009. We started by assembling a team of enthusiasts like ourselves – Ayobami Omobolanle, Itunu Akande and Dolapo Amusan. Dolapo was the technical guy, who helped design the first website – we got this at no cost. The cost of hosting the site was borne by myself and Damilola from savings.
What was most important was the drive; we were inexperienced with literary publishing. In fact, we felt so bad about our first issue that we had to re-issue it in September 2009.

SE: Why – why did you feel so bad?

EI: Well, we felt dissatisfied with the standard of the issue, especially because at that time we had began to read other electronic literary magazines. The hyperactivity and exuberance that had greeted our first publication soon dwindled because, suddenly, we realized we had work to do, and that we were novices. ‘Professional novices,’ I’d like to say. Also we did not know what it meant to distribute an online literay magazine. We just felt you could put it on the site without getting to people who were the readers. By the time the second issue was to be published we had only one or two submissions. I think this was because we didnt communicate with writers who had submitted to the first issue. We didnt write them an acceptance or rejection letters but just put their work on the site.

SE: But you have learned from that now as I know you have a proper structured submission process which is on your site

EI: Yes we do.

SE: You mentioned you were at university. Are you studying anything literature related?

EI: No I am studying law and Damilola is studying medicine.

SE: When did you discover that you had a love of literature and when did you being to read seriously, did you read much as a young child and if so what did you read.

EI: Yes, I started reading quite early say about eight because my Dad had a huge library of theological and philosophical books. I didn’t read them, in the sense of reading. I simply glanced at their covers. Up till today I can tell the titles of most of my Dad’s books. When I began to have the idea that I wanted to write, I started reading novels mostly Nigerian. I read a lot of romance too at that point.

SE: Can you name just a few

EI: I started by reading all of Achebe that I could find. Then the Christian romance series Heartsong, and the Left Behind Series by Tim Lahaye and Jerry Jenkins. Then John Grisham, John D. McDonald, Orson Scott Card, Michael Crichton, and so forth. Afterwards, in 2006 I started to read the kind of books I thought I wanted to write: Adichie, Richard Wright, Umberto Eco, Helon Habila, Salman Rushdie, Isabella Alende, Orhan Pamuk. Well, the list is endless. I acquire new books every month.

SE: What has been the response and support from long established Nigerian writers / the new crop of writers and poets, from the arts in general and of course the general public – do you think there is a need for this or even more “Sarabas” -

EI: On Established writers, the response has not been kind of minimal. Yet, it’s better than when we started. The first ‘established’ writer to support us was Jumoke Verissimo (our first guest editor) then Uche Peter Umez, then Jude Dibia, Tolu Ogunlesi, Eghosa Imasuen, and Lola Shoneyin. Yet, I think there’s a need for us to try harder with getting the support of established writers, whose support would go a long way in increasing our respectability.

The new crop of writers and poets are our biggest assets. By this I mean that the response have been overwhelming. At present, we have published (or going to publish) writers from India, Botswana, Malawi, the U.K., South Africa, Ghana, Turkey, Paris, etc.; this is aside the numerous writers in Nigeria we have already published. It’s interesting because we feel unstarted, and being in school means we might have achieved more if Saraba was done full-time.

The general public, well, knows little or nothing about Saraba. I assume the general public in this context means readers. I can safely say there’s little known about Saraba, and the goodwill we enjoy comes mostly from writers and literary enthusiasts. This is no fault of theirs. We have not exactly done good publicity, owing to schoolwork and financial constraints.

Of course, more Sarabas would be useful. The caveat in this regard would be that I hope more Sarabas would attempt to have a signature of their own – the market should not be laden with efforts that are only replicas of existing ones. What Saraba has tried to do is have a signature of our own, separate and distinct from existing efforts. Anyway, I am open to any new ‘Saraba,’ for I think we need to do this – to take our literary destiny into our hands.

SE: As the publisher of one of the few Nigerian literary magazines what do you see your role and what is your impression of the calibre of new writings coming out of Nigeria, W Africa and the continent?

EI: My role is simple. The first thing to say is that I do not want to be looked upon as a messiah of some sort, but a young man with love for the literary arts. Again, as a preliminary remark, I’d like to add that it is somewhat difficult and demanding to give perfect and equal attention to writing and publishing. They are too roles that I think should not be fused. But increasingly, we find that we must make exceptions. And I think my life is that exception! . I think we can have a conversation on the role of a writer as a publisher.

If I have any role, let it be one that has a definitive outlook. I desire to create a forum, a hub, of expression, without limitation as to status or achievement in literary circles. As such, I wish to help create a symphony of simplicity and ambition, a place where writers meet unashamed, and well, without restraint.

I’d talk about caliber in two angles. The first angle is simpler. I think good writing is coming out of Nigeria, and of that many agree, so I don’t need to spend time on this. The second angle is that I find many new writers seeking to conform to certain standards, or viewpoints, set and shared by newly established writers. Many seem to define good writing by the achievement of others, and feel that certain sensibilities must be reflected in a work before it achieves merit. I’ve had conversations with several of my peers and I feel this is a major challenge; and I also feel it is cautionable. The caliber of any writer’s writing is self-defined, and such feet-licking is highly destructive. I think a writer is to define his ambition himself; whether he gets there or not is left to no one’s judgment, but his.

SE: Nigeria has a growing publisher scene with Cassava Republic and Farafina being the most well known – is there a danger of these becoming the spokespersons for Nigerian literature and acting as the entry points for new writers in the same way that the established European publishers have in the past.

EI: I feel the need to extricate the issues (and you might want us to consider them separately). First, whether these publishing houses can become spokespersons for Nigerian literature is not a question of sentiment, but of fact. The facts that make this a reality outweigh the facts that do not. For one, these houses seem to have entered a market that is disfavourable, a forgotten market. It becomes necessary that they assert their presence – publish the writers they want to, whose writing would publicize the publishing houses. As such, it is easy for them to dictate to Nigerian literature, whether they do so rightly or not is another issue. I mean, look at what Farafina has done with Chimamanda Adichie. They have literarily told us that she’s an Amazon, and fed us with what to imagine about her and her writing. I think this is only incidental to the fact that they came into the Nigerian literary industry the time they did. They have to stay in business. But if this position remains the same after a decade, then they would have done worse to Nigerian industry than the military dictatorship.

The second issue is whether they have (or can) become an entry point for new writers. I assume new writers in this context relates directly to new Nigerian writers. This is more of a subjective issue. One, it is highly dependent on their structure, tenacity and commitment to new writing. Since 2004 when Farafina became prominent, this has not exactly been the case. New, homegrown, writers published by Farafina and Cassava Republic (if any) have not been accorded the same respectability and assiduousness accorded to writers ‘west-grown.’ This is only, as I said earlier, incidental. The risk is enormous.

But, that said, it is only unfortunate that these publishers are unwilling to take the risk to promote homegrown writing. We are not talking here about workshops or events, we are talking about books and what makes a book successful. I wish these houses would commit their resources to finding new talent, getting manuscripts and publishing them. Ambition is risky; mediocrity is safe. These publishers, in my opinion, have been mediocre. We support what they are doing, with caution, only with the hope that they become ambitious. A book might fail, but not all books would fail in the market, eventually. And yes, they seem to assert their ‘literary right’ to serve as entry points. Can we blame them?

SE: Over the past few years there have been regular writers workshops run by well known writers such as Chimamanda Ngozi Adichie and last year you attended the (WiAiA) [WORD INTO ART INTO AFRICA ] workshop in Lagos run by SPARCK all of which aim encourage and support writers. However as we both know, for example, from our joint SPARCK experience – you as participator and myself as one of the facilitators that there are serious problamatics with these kind of events – not just during the workshops themselves but what happens to the writer afterwards, what are you left with or rather what should they be left with?

EI: I think for every workshop, in whatever capacity it is organized, should leave a young writer with the temerity and ambition to write. I use ‘temerity’ because young writers like me are generally faced with the challenge of being overwhelmed by the market, by the success of established writers and the failures of some; by the question of publishing, and the question of the essence of writing. In a workshop, however, the young writer is told that he can write – that there is no such thing as a writer who does not know how to write; he is encouraged. He is therefore left with courage, determination, and in some cases, dissidence. Of course, his reasserted courage is directly proportional to his ambition. If he can be encouraged, his ambition soars.
These are the two-fold essentials that I am left with after every workshop I’ve attended. It might not have a universal appeal. But I think they should, and organizers of workshops should direct their attention to them.

We must question and address the aim of these workshops. I do not propose superficial questions, which would produce superficial answers. Instead I propose questions that linger, such as the post-workshop experience, and the sincerity of the organizers. We must also question the mode of selection; if you want to train writers, do not anticipate made writers. Isn’t it possible to have workshops where writers are selected on the basis of their work on the internet, and pre-recognition? Writing samples (800 words, for instance) appears to me as restrictive. For example, being selected for the WiAiA workshop was proof that 800 words do not express my talent. And I know many others with such experience. In the end, persons who get chosen for 800-words-workshops seem to be those with ‘short’ interest in writing. This is as far as I can get.
Residing in a university campus, I understand how unfulfilling it can be for writers to have no support for their writing. Almost all (if not all) campuses in Nigeria are guilty. There is no support, to the extent that I know, for literature in Nigerian universities. There are stultifying literary courses which, most of the time, are outdated, inundated with retrogressive and unenthusiastic tutors.
If I had sought inspiration from my university’s literary indulgence, I would have stopped writing a long time ago. In school however, we took our destinies in our hands, organized workshops, wrote on wooden boards, found peers who shared our passion; our university does not notice, has not attempted to appreciate our efforts. It is disheartening. But when I consider that nothing in our educational system has been ‘heartening’ I am somewhat consoled.

SE: Recently you started a long discussion on Facebook following your comment on literary tyranny – whether we mortal souls have the right or dare to critique well known writers such as Chimamanda Adichie – could you expand on what you were alluding to and why you think this is important.

EI: Although you have given the short note a new twist, which was not what I intended, let me see if I can attempt an explanation.

I do not presume that we do not have the right to question such writers as Adichie; I was attempting a sarcastic rendering to how I felt about how she’s been handled, by majority of her admirers, and what this holds for the literary landscape well after she’s gone from the scene. My consideration of this was from the lenses of her book, which I did not exactly feel overawed by. I have reservations on the book, which I think is too sentimental to be clearly written. I must say, however, that I respect her craft, her talent. It has never been a question for me.

But in talking about literary tyranny (although it seems the word was not carefully chosen), I meant that it appears Ms. Adichie is being considered an icon that cannot be critiqued, a person to whom all talk about must be in praise. I am against this. We are humans first, and then writers. No one writes a perfect book since no one is a perfect individual. If we continue in this manner, the tyranny I perceive is that we would all be shut up and fed trash. Good, she has written good books, her stories are great, but it does not mean that when we have a grouse with what she has written, we should remain silent.

I say this because I perceive the general feeling is that she is too good to a fault; even those who have not set their eyes on her books think this! She is a writer, and we measure her by her books, not her face or the appeal that Farafina (for one) has managed to attach to her name and personality. This is the tyranny I speak about; it’s nothing personal, I assure you. I do not, as my senior peer Eghosa Imasuen tried to suggest on the note, begrudge the artist her success. It is deserved (although I am not sure – I have no personal rapport with her).
When I grow up I want to be like her!

But the note seemed to show the fact that we must talk about what we have to talk about, and defend it thoroughly.

SE: When it comes to awards and prizes Nigerian writers rely on those given by foreigners – why do you think we do not have say an Achebe or Tutuola award for literature?

EI: I cannot say. I think, however, that it appears we lack the temerity to do so. But you know prizes are emerging. I appreciate the work of Myne Whtiman, of ANA, JLF and so forth. The fact is that prizes come last. We are still in the stage of re-developing our craft, our ‘literariness.’ Saraba would institute a prize, I’m certain. We should take our time on prizes. They are too sensitive; see what has happened with the NLNG Prize.

On prizes given by foreigners, I can say nothing! I have no facts.
In sum, we need our own prizes because we have our own writing and sensibilities, separate and distinct from the foreign.

SE: So where next for you Emmanuel and for Saraba – you have hinted at the possibility of instituting a prize at some time in the future and expanding the magazine to include writers from across the continent – I want to return to your first anniversary [issue 4] in which you reflect on the first year – you titled the piece “A short history of modern fools” you start off by saying you are not fools then completely contradict yourself by saying maybe you are – which are you or are you neither……..

EI: Of course, the contradiction was intended. Looking back, I felt we had done so much without experience. But I suddenly realized that experience was gotten on the job. I stand by my affirmation that we are modern fools, because it seemed to me that sometimes we acted too spontaneously, without thinking. I’m sure, albeit, that we’ve done all passionately, without once being limited by resources and experience.

That said, the future is yet hazy, although daily clarity is bestowed upon us. There’s no plan to institute a prize just yet. But we hope to increase awareness and public knowledge about Saraba. Although we are constrained by financial wherewithal, which sometimes affects how soon we upload a new issue, we are more concerned with increasing awareness than making profit. Profiteering is something we are taking our time to plan and prepare for. We hope to go commercial by this time in 2011.

It might be necessary to state our plan for the rest of the year. We are releasing a new poetry chapbook on August 30. Then our Technology Issue would be out by ending of September. In October, we plan to release another chapbook with poems for Nigeria at 50, and perhaps other writings that express Nigeria. Finally, our annual story issue would be out in December.

For me, the road is long. I feel small, too small. I’d have my degree in October, in Law, and proceed to the Nigerian Law School. During this period I hope to complete a novel – hopefully! Ah, I cannot say much, I can only say I know I want to write. As much as possible, I’d also try to avoid the public fora. Sometimes, it seems deafening. And who wants to be deafened?

SE: I read your poem “DREAM MACHINE” – we all have dreams but the distance between the dream and realizing the dream is often long and hard – Why do you think you have succeeded in your attempt to create a space in Nigeria / Africa’s literary landscape – what have you and your partner Damilola got that makes Saraba work.

EI: I cannot call what we have success. It is too early for that. What we have might only be an attempt, and if we have succeeded in this attempt, fine. I must however add that it seems we have a space in Nigerian/African literary landscape. It was gladdening to us when Akin Ajayi included Saraba in the Guardian website as one of the three prominent literary journals. Such recognition meant that there was a Saraba that could be referred to; for that we are grateful.
If I must speak about qualities, I’d prefer to speak about Damilola. Partnerships, today, world often fail for conflict of ideas and whims. There has been nothing like that. Damilola has given me the room to make Saraba, and I hope I’ve given him room too. It’s amazing that we’ve never had an argument in almost two years, even as friends. This essential quality –simplicity – is well known to me as the secret of progress. Even more amazingly, Damilola thinks we have not begun, and he says this so often that I feel idle and of no use. Of course, it his tenacity and energy that I admire the most.

 

HISTORY + REVIEW: Malcolm X in Africa « AFRICA IS A COUNTRY

Malcolm X in Africa

June 27, 2011
by Sean Jacobs

I am dipping in and out of Manning Marable’s over 600-page biography of Malcolm X. As Tariq Ali, correctly writes in The New Left Review (in a review of the book), there’s too much on Malcolm X’s personal life so that as a result “… the events that shaped his continuing intellectual evolution—the killing of Lumumba and the ensuing crisis in Congo; the Vietnam War; the rise of a new generation of black and white activists in the US, of which Marable was one—are mentioned only in passing.” Ali does summarize the book’s account of Malcolm X’s two visits to the African continent and its effect on Malcolm:

 

In March 1964, Malcolm announced his break with the Nation of Islam, and his intention to set up his own organization. In fact, he set up two: Muslim Mosque Inc.—a direct alternative to the Nation of Islam—and then, in June, a second body with a wider remit called the Organization of Afro-American Unity. The choice of name for the latter was clearly influenced by the month-long trip to Africa and the Middle East Malcolm had made that spring. In April he had completed the hajj; according to Marable, the egalitarianism among pilgrims of all colours brought an ‘epiphany’, suggesting black separatism was not the only solution to the problems of race. What Malcolm had witnessed in Africa, meanwhile, gave more substance to his changing political views. Soon after his return, he gave a speech drawing parallels between European colonial rule and institutionalized racism in the US: the police in Harlem were like the French in Algeria, ‘like an occupying army’. As Marable notes, ‘for the first time he publicly made the connection between racial oppression and capitalism’. African-Americans should, he said, emulate the Chinese and Cuban revolutions, also observing that ‘all of the countries that are emerging today from under colonialism are turning towards socialism. I don’t think it’s an accident.’

Malcolm made a second, longer African trip from July to November 1964, visiting a string of countries where he met a range of intellectuals and political figures. In Egypt, he spoke at the OAU conference and talked with Nasser; in Ghana, he met Shirley DuBois and Maya Angelou; in Tanzania, Abdulrahman Mohamed Babu and Julius Nyerere; in Kenya, Oginga Odinga and Jomo Kenyatta. The international dimension was crucial to his thinking in the final months. In mid-December, he invited Che Guevara—in New York for the celebrated UN General Assembly speech—to address an OAAU rally; Guevara did not attend, but sent a message of solidarity. ‘We’re living in a revolutionary world and in a revolutionary age’, Malcolm told the audience. He continued:

I, for one, would like to impress, especially upon those who call themselves leaders, the importance of realizing the direct connection between the struggle of the Afro-American in this country and the struggle of our people all over the world. As long as we think—as one of my good brothers mentioned out of the side of his mouth here a couple of Sundays ago—that we should get Mississippi straightened out before we worry about the Congo, you’ll never get Mississippi straightened out.

 

__________________________


 Malcolm X

– Leaving Shabazz

Tariq Ali
1 May 2011

Manning Marable, Malcolm X: A Life of Reinvention, Allen Lane: London and New York 2011, £30, hardback, 592 pp, 978 0 713 99895 5.


LEAVING SHABAZZ

The rich repertoire of songs and music that African-Americans have produced over the last century has to a large extent been recorded. Its value is recognized all over the world. The same cannot be said for black oratory, which shared the same roots and reflected similar emotions: slavery, segregation and imprisonment produced resistance, anger, bitterness and, often, resignation. Very few speeches were written, leave alone recorded, until the mid-20th century; and yet they had a huge cultural and historical impact.

W. E. B. DuBois and Marcus Garvey were amongst the greatest orators during the early twentieth century. A generation later, Adam Clayton Powell, the independent Congressman elected from Harlem, could electrify an audience. This is the tradition within which the 1960s activist Malcolm X should be situated. It was his ability to articulate political ideas instinctively that won him an audience far beyond the ranks of the converted. First and foremost, he was one of the greatest orators that North America has ever produced.

Malcolm X embodied all the strengths and many of the contradictions of the black political condition in mid 20th-century America. Towards the end of his tragically short life he understood, better than most, that it was structural and systemic barriers that had kept the majority of African-Americans below the poverty line and denied them political and racial equality, a hundred years after a civil war supposedly fought to liberate their ancestors from slavery. In a speech of April 1964, he pointed out that if Lincoln— sardonically: ‘that great shining liberal’—had freed the Afro-American, ‘we wouldn’t need civil-rights legislation today’. Malcolm X’s political philosophy and approach, as well as his religious beliefs, were in transition over the last five years of a life cut short, in February 1965, by assassins from the Nation of Islam. They had acted on the orders of their Prophet and the National Secretary who was, in all likelihood, an FBI plant.

Manning Marable’s new, deconstructive biography demonstrates all this in vivid detail. Marable, a social-democratic essayist and historian who died in April this year, a few days before the book was published, was a muchrespected voice within the African-American intelligentsia and later within the academy as a whole. In his earlier books and essays on black liberation, especially in the sharply analytical How Capitalism Underdeveloped Black America (1983), he deployed many a weapon from the Marxist armoury. The tone is somewhat different in Malcolm X: A Life of Reinvention. ‘From an early age’, Marable writes, ‘Malcolm Little had constructed multiple masks that distanced his inner self from the outside world . . . He acquired the subtle tools of an ethnographer, crafting his language to fit the cultural contexts of his diverse audiences’. Noting the various identities he adopted during his lifetime—from Detroit Red to El-Hajj Malik El-Shabazz—Marable asserts that ‘no single personality ever captured him fully. In this sense his narrative is a brilliant series of reinventions, “Malcolm X” being just the best known.’

Marable is not, of course, the first to chronicle the life of Malcolm X. The latter’s autobiography, co-written with Alex Haley, came out in late 1965, only months after its subject’s death. Since then there have been half a dozen biographies, not to mention a film by Spike Lee. But Marable’s is the first account to benefit from access to the personal correspondence, photographs and texts of speeches held by Malcolm X’s estate. Marable worked on the book for almost two decades, and was only able to complete it, as he generously acknowledges, with help from his partner Leith Mullings, a scholar in anthropology; a project manager, coincidentally a Muslim; and a team of dedicated researchers and post-graduate students at Columbia. The end product is sprawling and under-edited, but much of the information it collates has not previously appeared in book form. Some of it is, frankly, extraneous; but some of it sheds new light on the killing as well as providing details of Malcolm’s personal life that he carefully omitted from his own autobiography, and which were also absent from Lee’s movie based on that work.

The basic facts of Malcolm’s life are by now well known. He was born in Omaha, Nebraska in May 1925, but spent most of his childhood in Lansing, Michigan. At the age of six he lost his father, Earl Little Sr—killed in a streetcar accident that many at the time found suspicious, and which Marable suggests may have been the work of local white supremacists. Malcolm’s mixed-race Grenadian mother struggled to feed and clothe her seven children; in 1939, she had a nervous breakdown and was sent to a psychiatric hospital, where she spent the next quarter-century. Malcolm and his siblings were forced to depend on each other. In 1941, after being expelled from school, he moved to Boston to live with his half-sister. He spent the war years shuttling between Boston and Harlem, alternating between a series of menial jobs and a zoot-suited life peddling drugs, thieving and pimping. Unsurprisingly, he ended up in prison, receiving an eight-year sentence for a string of burglaries. He spent the years from 1946 to 52 in the Massachusetts penal system. It was here, in 1948, that he discovered the true faith as espoused by a politico-religious sect, the Nation of Islam. This changed his life-style in many ways: it meant farewell to pork and alcohol, drugs and cigarettes. Moreover, as Marable explains, the Nation of Islam ‘required converts to reject their slave surnames, replacing them with the letter X’. An autodidact, Malcolm acquired the reading habit in prison and it never left him. His choices were eclectic: the Koran became an important reference point, but he also dipped into Hegel, Nietzsche, Kant, as well as the history of his people and of the Africa whence they had originally come.

It would be wrong, however, to assume that his road to politics started in prison. In later years he recalled snatches of conversation he had overheard at home, and when he accompanied his father to political gatherings. Earl Little Sr was born in Georgia in 1890; memories of the Civil War, and of what had been promised but never given, remained strong in African-American communities in the South. Moreover, as Marable points out, the 1920s and 30s were a period of resurgence for white supremacism. Originally consisting of little more than violent gangs of embittered vigilantes, the Ku Klux Klan was reborn after the First World War amid rising unemployment and waves of xenophobia directed against not only blacks but also ‘non-European’ immigrants, Catholics, Jews, anarchists and communists. By 1923 the re-invented Klan had a membership of at least two and a half million, with millions more sympathizers and a base in both Republican and Democratic Parties.

Many black citizens, observing these developments with trepidation, were drawn to black separatist and nationalist movements. Others preferred to work with the gradualist National Association for the Advancement of Colored People (NAACP), a staunchly integrationist organization led by the conservative Booker T. Washington. Offered these choices, Earl Little Sr opted for separatism, joining Marcus Garvey’s ‘Back to Africa’ movement. Garvey, a Jamaican, had migrated to the United States, witnessed the racism and the Jim Crow laws and decided to fight back by creating the Universal Negro Improvement Association (unia) and the African Communities League. He espoused an inventive theology, and proclaimed himself provisional president of Africa, bestowing ludicrous titles on his acolytes: Dukes of Uganda, Knights of the Nile and so on. According to Marable, central to Garvey’s success was his ‘enthusiastic embrace of capitalism’ and free enterprise.

The problem was that material success had been reserved for whites, which was why black Americans should ‘return’ to their own continent and create their version of the white American dream; to facilitate the process, Garvey created a shipping company, Black Star Line. On the political front he held that, since the KKK was the ‘invisible government of the United States’ and represented the real views of ‘white America’, the unia should open direct negotiations with them—after all, both were opposed to social and sexual intercourse between blacks and whites (a tradition that would be continued by the Nation of Islam). The summit between Garvey and Grand Wizard Clarke enraged some of his own supporters, many of whom left the organization. Garvey’s security apparatchiks tracked down and killed the leader of the dissidents.

Malcolm’s parents, who had met through Garveyist circles in Montreal, remained loyal, moving from Omaha to Milwaukee and then Lansing to organize unia chapters. They suffered for their activism: in 1929, when Malcolm was four, the family house was firebombed. The fire department refused to come to their aid and the house was burnt to the ground. By this time Garveyism was in decline: in 1927 its leader had left the States not for Africa but Jamaica, before later moving to Britain, where he died in 1940. In his obituary C. L. R. James, who loathed Garvey’s politics, sought to explain his appeal to the black masses:

"So deep was the sense of wrong and humiliation among the Negroes and so high did he lift them up that they gave him all that they did, year after year, expecting Garvey to perform some miracle. No revolution is ever made except when the masses have reached this pitch of exaltation, when they see a vision of a new society. That is what Garvey gave them."

James stressed Garvey’s qualities as a speaker, judging him ‘one of the great orators of his time’: ‘ill-educated, but with the rhythms of Shakespeare and the Bible in his head, he was a master of rhetoric and invective, capable of great emotional appeals and dramatic intensity.’ James continued: Every two-cent revolutionary who has talked to Negroes in cafeterias and therefore knows the Negro question points out Garvey’s errors and absurdities and thinks that thereby a contribution has been made to knowledge. More than in all the theses of the Comintern, a basis for the building of a real mass movement among the Negroes lies in a thorough study of this first great eruption of the Negro people.

With the collapse of Garveyism, many within the movement changed tack. Some became labour organizers, socialists and communists. Others shifted to the naacp, which had itself moved in a more radical direction since Washington’s death. The more religious amongst Garvey’s followers drifted towards the Muslim sects that were becoming active in the country and winning recruits by arguing that Christianity was the religion of slave-owners. The fact that most of the churches were segregated underscored their message.

When Malcolm first encountered the Nation of Islam in prison, then, much of what he discovered was familiar territory. The theology was, however, even more inventive than Garvey’s. Marable’s account of the Muslim sects and their impact on the African-American community is the most comprehensive to date, allotted almost 250 pages here. The history of the Nation of Islam, so vital to the formation of Malcolm, can be summarized as follows. The inspirer of the movement was an eccentric fantasist named Wallace D. Fard—he later added Muhammad to his name—who revealed himself to audiences as a prophet in the late 1920s. The founding myth he supplied for the cult is risible, but deadly serious in its purpose: to encourage black pride. In the ‘Secret Ritual of the Nation of Islam’ and other texts, Fard asserted that African-Americans belonged to the ‘lost tribe of Shabazz’, which had been sold into slavery by Meccan traders in the seventeenth century. They should therefore ‘recover’ their original Muslim religion, learn Arabic and so on. The white race, meanwhile, were ‘devils’, the product of a chemical experiment conducted by the imaginary Shabazz scientist Yacub. Centuries ago these white devils escaped Yacub’s control and conquered the world; the ‘Asiatic’ blacks had gone into a deep sleep, but the Nation of Islam would awaken them and restore their pride. The fact that such tales could be taken at all seriously by intelligent human beings underlines the desperate straits in which African-Americans found themselves at the time. In August 1931 Fard gave a lecture in Detroit. Attending it was Elijah Poole, a brick-kiln labourer from Georgia. Mesmerized by the preacher’s performance, Poole went up to him and expressed his appreciation: ‘I know who you are, you’re God himself.’ ‘That’s right,’ was the modest response, ‘but don’t tell it now. It is not yet time for me to be known.’ This was the real founding moment of the Nation of Islam. After Fard mysteriously disappeared in 1934, Elijah Muhammad became his Prophet, and after a few inevitable splits found himself the unchallenged leader of the sect.

After his release from prison, Malcolm’s dynamism and natural gifts as an orator propelled him rapidly to the top of the organization; within a year, he had his own ministry in Harlem. He became Elijah’s leading lieutenant and was widely viewed as his successor. Malcolm’s organizational skills matched his oratory, and the Nation of Islam expanded from a small sect to a proper movement with branches in most of the major cities. In 1947, according to Marable, it had no more than 400 members, and less than 1,000 in 1953; but it could claim 6,000 adherents by the mid-50s, and by 1961, in a huge leap, as many as 75,000. However, it could never match the naacp, which by 1939 had grown to a mass organization with a quarter of a million members; by 1943 it had half a million, and double that by 1947, when the black population as a whole numbered 15 million. This growth reflected the social ferment of a period that witnessed the largest working-class mobilizations in us history. The rise of the Nation of Islam, by contrast, took place during the 1950s—a period of affluence, near full-employment but also of defeat for African-Americans, who remained socially and politically deprived. A conservative white-separatist political order created the conditions for a conservative black separatism from below. Like Garvey before him, Elijah Mohammed encouraged black capitalism to create a black commercial realm, and also, of course, profits for his organization and his family.

As he grew and travelled, Malcolm’s views began to change. Harlem was the most cosmopolitan of America’s black enclaves, and people there were deeply sceptical of the mumbo-jumbo that constituted the Nation of Islam’s explanation of the world. Increasingly embarrassed about it himself, Malcolm became aware that Islam itself is a universalist religion; any version of it that excluded anybody on the basis of colour existed only in the fevered imaginations of Nation of Islam converts. Malcolm was developing his own explanations for divisions within the African-American community; these appealed to the poor, who were tired of seeing their more traditional leaders kow-tow to the White House. In January 1963, he made a devastating speech to over a thousand students at Michigan State University in which he drew a distinction between ‘the house Negro and the field Negro’:

"The house Negro usually lived close to his master. He dressed like his master. He wore his master’s second-hand clothes. He ate food that his master left on the table . . . When the master would be sick, the house Negro identified himself so much with the master, he’d say, ‘What’s the matter, boss, we sick?’ . . . The house Negro was in a minority. The field Negroes were the masses. They were in the majority. When the master got sick, they prayed that he’d die. If his house caught on fire, they’d pray for a wind to come along and fan the breeze."

As Marable points out, this was an important speech in many respects, marking a public break with the nonsense of the lost tribe of Shabazz and the Arab origins of African-Americans. The Negro, Malcolm now asserted, was an African, pure and simple. This speech laid the basis for the pan-Africanism that was to become more and more prominent over the remaining years of his life.

He was turning away from the Nation of Islam, yet still he remained loyal to Elijah, even though the latter’s sycophants fumed at the liberties Malcolm was permitted. The Kennedy assassination was the occasion of the first public breach. At a public meeting in New York, Malcolm spoke of the killings the us administration had organized, including those of its own allies in South Vietnam. Kennedy’s shooting, he explained to a cheering audience, was ‘the chickens coming home to roost’, adding: ‘Being an old farm boy myself, chickens coming home to roost never did make me sad. They’ve always made me glad.’ At Nation of Islam headquarters in Chicago, Elijah and John Ali, the fbi plant who was the National Secretary, issued a public retraction, expressed their grief and shock at Kennedy’s death, and temporarily suspended Malcolm from the organization. He would never be let back in. While angered by the suspension, he must also have been relieved: he was finding it difficult to justify Nation of Islam policies while debating other militant black leaders. It was one thing to denounce open collaborationists as Uncle Toms, but the Nation of Islam’s refusal to participate in the civil-rights movement and its denunciations of Martin Luther King and other activists were indefensible.

In March 1964, Malcolm announced his break with the Nation of Islam, and his intention to set up his own organization. In fact, he set up two: Muslim Mosque Inc.—a direct alternative to the Nation of Islam—and then, in June, a second body with a wider remit called the Organization of Afro- American Unity. The choice of name for the latter was clearly influenced by the month-long trip to Africa and the Middle East Malcolm had made that spring. In April he had completed the hajj; according to Marable, the egalitarianism among pilgrims of all colours brought an ‘epiphany’, suggesting black separatism was not the only solution to the problems of race. What Malcolm had witnessed in Africa, meanwhile, gave more substance to his changing political views. Soon after his return, he gave a speech drawing parallels between European colonial rule and institutionalized racism in the us: the police in Harlem were like the French in Algeria, ‘like an occupying army’. As Marable notes, ‘for the first time he publicly made the connection between racial oppression and capitalism’. African-Americans should, he said, emulate the Chinese and Cuban revolutions, also observing that ‘all of the countries that are emerging today from under colonialism are turning towards socialism. I don’t think it’s an accident.’

Malcolm made a second, longer African trip from July to November 1964, visiting a string of countries where he met a range of intellectuals and political figures. In Egypt, he spoke at the oau conference and talked with Nasser; in Ghana, he met Shirley DuBois and Maya Angelou; in Tanzania, Abdulrahman Mohamed Babu and Julius Nyerere; in Kenya, Oginga Odinga and Jomo Kenyatta. The international dimension was crucial to his thinking in the final months. In mid-December, he invited Che Guevara—in New York for the celebrated un General Assembly speech—to address an oaau rally; Guevara did not attend, but sent a message of solidarity. ‘We’re living in a revolutionary world and in a revolutionary age’, Malcolm told the audience. He continued:

"I, for one, would like to impress, especially upon those who call themselves leaders, the importance of realizing the direct connection between the struggle of the Afro-American in this country and the struggle of our people all over the world. As long as we think—as one of my good brothers mentioned out of the side of his mouth here a couple of Sundays ago—that we should get Mississippi straightened out before we worry about the Congo, you’ll never get Mississippi straightened out."

The fact that many of the initial recruits to the OAAU had come from the Nation of Islam was used by Elijah Mohammed and Malcolm’s numerous enemies within the Nation of Islam to depict him as a ‘traitor’. They decided to execute him, as he knew they would. In December 1964 he came to speak at Oxford. Afterwards, I walked him back to the Randolph Hotel, where we sat and spoke for over an hour. On parting I expressed the hope that we would meet again. He shook his head: ‘I don’t think we will.’ Why? ‘I think they’ll kill me very soon’, he said calmly. ‘Who will kill you?’ Here he had no doubts: it would be the Nation of Islam or the FBI, or both together. He explained how his break with separatism and moves to build alliances with progressive white groups made him a dangerous figure. In February 1965, three assassins from the Nation of Islam gunned him down at an oaau meeting in New York. Three years later, Martin Luther King, too, was killed soon after he broke with the Democrats and decided to stand as an independent Presidential candidate. And in the years that followed the FBI systematically organized the assassinations of Black Panther leaders and activists.

The strength of Marable’s account is the huge amount of information he provides. Everything is in here, but it comes at a cost, often disrupting the narrative. Details of Malcolm’s personal life—his unhappy marriage, his male lovers in prison—crowd what is essentially a political biography. The emphasis on the Nation of Islam is not totally misplaced, but it is accorded far too much space, at the expense of any discussion of the overall social and political contexts, both us and global, within which Malcolm operated. The result is seriously unbalanced: the events that shaped his continuing intellectual evolution—the killing of Lumumba and the ensuing crisis in Congo; the Vietnam War; the rise of a new generation of black and white activists in the us, of which Marable was one—are mentioned only in passing. This is a great pity, because in historical terms their significance far outweighs that of the audience sizes of various Nation of Islam meetings or the sectarian infighting which Marable discusses at length. Marable also makes some nonsensical comparisons between the Nation of Islam and Shia Muslims as well as other clumsy references to Islam that it might have been better to exclude.

Conversely, the book might have benefited from a comparative survey of the different sects, black and white, that proliferated in the US in the interwar years; the Nation of Islam were not the only game in town—Mormons, Scientologists, Seventh Day Adventists and Jehovah’s Witnesses all gained large followings at the time, and remain influential now.

In an Epilogue, Marable sums up Malcolm’s legacy, seeking to counter ‘revisionist’ ideas that in his final years he had been ‘evolving into an integrationist, liberal reformer’. Correctly he argues that Malcolm would have had nothing to do with affirmative action—what he sought was ‘a fundamental restructuring of wealth and power in the United States’. He always demanded that middle-class blacks be accountable to the masses of poor and working-class African Americans. Marable contrasts the posthumous fates of Malcolm and Martin Luther King Jr: the latter sanctified by the political establishment as a martyr to a ‘colour-blind America’, celebrated by an official annual holiday, while Malcolm was pilloried and stereotyped by the mass media, albeit as ‘an icon of black encouragement’ to African American youth. Marable then tries to elide King with Obama, differentiating Malcolm from both of them. This is both sad and grotesque. King was killed for his opposition to the Vietnam War. He never turned his back on the plight of African-Americans. The reason why he broke from the Democratic Party was to unite blacks and whites against war and for social justice. Obama’s record speaks for itself. Malcolm would have lambasted him for escalating the war in Afghanistan and extending it to Pakistan, where thousands of civilians have been killed by ‘targeted’ drone attacks. He would have pilloried Obama’s role as Wall Street’s handmaiden, even as working-class America, black and white, suffers from rising levels of unemployment and social deprivation. His words at Michigan State University in 1963 are all too applicable today, as many are coming to realize.

Marable suggests that Obama’s election means that Malcolm’s vision would have to be ‘radically redefined’, for a political environment that appears to be ‘post-racial’. In that case, Malcolm might have asked, why is it that in 2011 the number of African-Americans incarcerated in US prisons is the same as the slave population in 1860? And why, despite the ascent of such figures as Clarence Thomas, Colin Powell, Condoleezza Rice and Obama, do blacks remain on the lowest rung of the social ladder? Malcolm was not such a prisoner of the American dream as to think that getting a dark-skinned man in the White House need necessarily do anything to change the fundamental structures of wealth, race and power.

Tariq Ali


* From the New Left Review 69, May-June 2011, pp. 152-160.