A bold and revealing book which looks with fresh vision at feminist political writing. Maria Lauret developes a new definition of the genre and illuminates the profound influence and importance of African-American women's writing.

The powerful novelist here turns penetrating critic, giving usâe"in lively styleâe"both trenchant literary analysis and fresh insight on the art of writing. âeoeWhen African American writers began to trust the literary possibilities of their own verbal and musical creations,âe writes Gayl Jones, they began to transform the European and European American models, and to gain greater artistic sovereignty.âe The vitality of African American literature derives from its incorporation of traditional oral forms: folktales, riddles, idiom, jazz rhythms, spirituals, and blues. Jones traces the development of this literature as African American writers, celebrating their oral heritage, developed distinctive literary forms. The twentieth century saw a new confidence and deliberateness in African American work: the move from surface use of dialect to articulation of a genuine black voice; the move from blacks portrayed for a white audience to characterization relieved of the need to justify. Innovative writingâe"such as Charles Waddell Chesnuttâe(tm)s depiction of black folk culture, Langston Hughesâe(tm)s poetic use of blues, and Amiri Barakaâe(tm)s recreation of the short story as a jazz pieceâe"redefined Western literary tradition. For Jones, literary technique is never far removed from its social and political implications. She documents how literary form is inherently and intensely national, and shows how the European monopoly on acceptable forms for literary art stifled American writers both black and white. Jones is especially eloquent in describing the dilemma of the African American writers: to write from their roots yet retain a universal voice; to merge the power and fluidity of oral tradition with the structure needed for written presentation. With this work Gayl Jones has added a new dimension to African American literary history.

Woodrow McIlmore is leading the perfect life in Paris, Arkansas: married to his high school sweetheart, he has two wonderful children and a warm circle of family and friends. When Wood's daughter announces that she wants to marry a college classmate, Wood is stunned. But that's just the tip of the iceberg -- her intended is the son of the woman who left Wood twenty years earlier, the free-spirited Duff. And so begins a tumultuous year in Paris, as Duff returns and familiar sparks fly with her old flame. Their rekindled passion affects not only Wood and Duff but also their good friends, as they must now all decide what in their lives is worth keeping and what needs to be thrown away.

"Liberating Self by Christine Spring explores with image & text the continual balancing act that we all face between our ego's fears and our soul's desires. Spring's images of nude women from all walks of life adds a visual connection to the messages and teachings one will find within this book"--http://www.beatnikshop.com.

This book provides an alternative to the more conventional modes of qualitative and quantitative inquiry currently used in professional training programs, particularly in education. It features a very accessible presentation that combines application, rationale, critique, and inspiration—and is itself an example of this kind of writing. It teaches students how to use personal writing in order to analyze, explicate, and advance their ideas. And it encourages minority students, women, and others to find and express their authentic voices by teaching them to use their own lives as primary resources for their scholarship.

Claude McKay's Liberating Narrative: Russian and Anglophone Caribbean Literary Connections examines McKay's search for an original form of literary expression that started in Jamaica and continued in his subsequent travels abroad. Newly found research pertaining to his presence in several Russian periodicals, magazines, and literary diaries brings new light to the writer's contribution to the Soviet understanding of African American and Caribbean issues and his possible influence on Yevgeny Zamyatin, the writer he met during his 1922 - 1923 visit to Russia. The primary focus of this book is Claude McKay and his positive reception of Alexander Pushkin, Feodor Dostoyevsky, and Leo Tolstoy, the nineteenth-century Russian writers who influenced his literary career and enabled him to find a solution to his dilemma of a dual Caribbean identity. The secondary focus of this book is the analysis of McKay's affinity with his Russian literary predecessors and with C.L.R. James and Ralph de Boissière, his Trinidadian contemporaries, who also acknowledged the importance of Russian writers in their artistic development. The book discusses McKay as a precursor of Russian and Anglophone Caribbean links and presents a comparative analysis of cross-racial, cross-national, and cross-cultural alliances between these two distinct yet similar types of literature. Claude McKay's Liberating Narrative is highly recommended for undergraduate and graduate courses in Caribbean and comparative literature at North American, European, Caribbean, and African universities.