Beautiful, high-stepping Yoruba of Harlem is invited to the annual cotillion thrown by African American high society of Queens. Caught between the indifference of her father, the excitement of her social-climbing mother, and her prodigal boyfriend's militancy, Yoruba persuades her sister debutantes to challenge the aging doyennes in one of the most sidesplitting scenes in American literature. Nominated for a Pulitzer in 1972, Killens's uproarious satire captures the conflicts within black society in the 1960s. The Cotillion is the fourth title in Coffee House Press's acclaimed Black Arts Movement series. John Oliver Killens was born in Macon, Georgia in 1916. Co-founder of the Harlem Writers Guild, he taught at Howard and Columbia Universities. His other novels include And Then We Heard the Thunder, and The Great Black Russian.

A fictional portrayal of real events that occurred during WWII from Afro-American author John Oliver Killens, who had previously served in the Amphibian Forces in the South Pacific. Through his characters, the reader gains a close-to-the-bone account of what it was like to be a Negro soldier fighting in segregated units under racist commanding officers. The final chapters reveal one of the war’s best-kept secrets concerning the escalating racial tension between black American GIs and their white commanding officers. The story climaxes in a terrifying race riot, which took place on the seedy night streets of South Brisbane in March 1942. Editorial Reviews: “...a big and powerful, angry novel, pulsating with love and hate, laughter and tears, sex and violence, and all the other juices of life.”—Sidney Poitier “...that big, polyphonic, violent novel...calls James Jones to mind.”—Saturday Review “...A beautiful and powerful book.”—James Baldwin

John Oliver Killens's politically charged novels And Then We Heard the Thunder and The Cotillion; or One Good Bull Is Half the Herd, were nominated for the Pulitzer Prize. His works of fiction and nonfiction, the most famous of which is his novel Youngblood, have been translated into more than a dozen languages. An influential novelist, essayist, screenwriter, and teacher, he was the founding chair of the Harlem Writers Guild and mentored a generation of black writers at Fisk, Howard, Columbia, and elsewhere. Killens is recognized as the spiritual father of the Black Arts Movement. In this first major biography of Killens, Keith Gilyard examines the life and career of the man who was perhaps the premier African American writer-activist from the 1950s to the 1980s. Gilyard extends his focus to the broad boundaries of Killens's times and literary achievement--from the Old Left to the Black Arts Movement and beyond. Figuring prominently in these pages are the many important African American artists and political figures connected to the author from the 1930s to the 1980s--W. E. B. Du Bois, Paul Robeson, Alphaeus Hunton, Langston Hughes, James Baldwin, Martin Luther King Jr., Malcolm X, Harry Belafonte, and Maya Angelou, among others.

A major literary event—the eagerly anticipated publication of a long-lost novel from legendary writer and three-time Pulitzer Prize nominee John Oliver Killens, hailed as the founding father of the Black Arts Movement and mentor to celebrated writers, including Maya Angelou, Nikki Giovanni, Arthur Flowers, and Terry McMillan. Wanderlust has taken Jimmy Jay Leander Johnson on numerous adventures, from Mississippi to Washington D.C., Vietnam, London and eventually to Africa, to the fictitious Independent People’s Democratic Republic of Guanaya, where the young musician hopes to “find himself.” But this small sliver of a country in West Africa, recently freed from British colonial rule, is thrown into turmoil with the discovery of cobanium—a radioactive mineral 500 times more powerful than uranium, making it irresistible for greedy speculators, grifters, and charlatans. Overnight, outsiders descend upon the sleepy capital city looking for “a piece of the action.” When a plot to assassinate Guanaya’s leader is discovered, Jimmy Jay—a dead ringer for the Prime Minister—is enlisted in a counter scheme to foil the would-be coup. He will travel to America with half of Guanaya’s cabinet ministers to meet with the President of the United States and address the UN General Assembly, while the rest of the cabinet will remain in Guanaya with the real Prime Minister. What could go wrong? Everything. Set in the 1980s, this smart, funny, dazzlingly brilliant novel is a literary delight—and the final gift from an American literary legend.

In spite of the existence of statistics and numerical data on various aspects of African American life, including housing, earnings, assets, unemployment, household violence, teen pregnancy and encounters with the criminal justice system, social science literature on how racism affects the everyday interactions of African American families is limited. How does racism come home to and affect African American families? If a father in an African American family is denied employment on the basis of his race or a wife is demeaned at work by racist slurs, how is their family life affected? Given the lack of social science literature responding to these questions, this volume turns to an alternative source in order to address them: literature. Engaging with novels written by African American authors, it explores their rich depictions of African American family life, showing how these can contribute to our sociological knowledge and making the case for the novel as an object and source of social research. As such, it will appeal to scholars and students of the sociology of the family, race and ethnicity, cultural studies and literature.

When Eldridge Cleaver wrote in 1965 that black men "shall have our manhood or the earth will be leveled by our attempt to gain it," he voiced a central strain of Black Power movement rhetoric. In print, as well as on stage and screen, Black Power advocates equated masculinity with their political radicalism and potency. While many observers have criticized the misogyny in this preoccupation, few have noted the challenges to it within the period in the works of authors such as James Baldwin, John Edgar Wideman, Clarence Major, and John Oliver Killens. These and other writers tested the link between masculinity and radical politics. By recovering their voices, Rolland Murray demonstrates that the movement's gender ideals were questioned more fully than scholars have acknowledged. He also examines how the Black Power era's contentious gender politics continue to play a role in contemporary African American culture and scholarship. Murray analyzes the ways in which notions of masculinity were interwoven with essential movement philosophies regarding revolutionary violence, charismatic leadership, radical rhetoric, and black sexuality. Striving to forge a more nuanced account of how masculinist discourse contributed to the movement's overall agenda, he frames masculinity both as a linchpin of the seductive politics of Black Power and as a focal point of dissent by black male authors.