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White Supremacy in Children's Literature is a compelling and penetrating study of the white supremacy myth in books for the young. Donnarae MacCann explores the intersection of child and adult culture and reveals how the political, literary and social contexts of many children's stories have ...

White Supremacy in Children's Literature is a compelling and penetrating study of the white supremacy myth in books for the young. Donnarae MacCann explores the intersection of child and adult culture and reveals how the political, literary and social contexts of many children's stories have paralleled the way adult books, schools, churches and government maligned black identity, culture and intelligence. The volume examines how links between the socialization of children and conservative trends in the 19th century foretold 20th century disregard for social justice in American social policy. MacCann further demonstrates that cultural pluralism, an ongoing corrective to white supremacist fabrications, is informed by the insights and historical assessments offered in this essential study.

The Communist Party was the only political movement the left in the late 1920s and 1930s to place racial justice and equality at the top of its agenda and to seek, and ultimately win, sympathy among African Americans. This historic effort to fuse red and black offers a rich vein of experience and ...

The Communist Party was the only political movement the left in the late 1920s and 1930s to place racial justice and equality at the top of its agenda and to seek, and ultimately win, sympathy among African Americans. This historic effort to fuse red and black offers a rich vein of experience and constitutes the theme of The Cry Was Unity.

Utilizing for the first time materials related to African Americans from the Moscow archives of the Communist International (Comintern), The Cry Was Unity traces the trajectory of the black-red relationship from the end of World War I to the tumultuous 1930s. From the just-recovered transcript of the pivotal debate on African Americans at the 6th Comintern Congress in 1928, the book assesses the impact of the Congress's declaration that blacks in the rural South constituted "a nation within a nation", entitled to the right of self-determination. Despite the theory's serious flaws, it fused the black struggle for freedom and revolutionary content and demanded that white labor recognize blacks as indispensable allies.

As the Great Depression unfolded, the Communists launched intensive campaigns against lynching, evictions, and discrimination in jobs and relief and opened within their own ranks a searing assault on racism. While the Party was never able to win a majority of white workers to the struggle for Negro rights, sup- or to achieve the unqualified port of the black majority, it helped to lay the foundations for the freedom struggle of the 1950s and 1960s.

The Cry Was Unity underscores the successes and failures of the Communist-led left and the ways in which it fought against racism and inequality. This struggle comprises an importantmissing page that needs to be returned to the nation's history.

This marvelous collection brings together the great myths and legends of the United States--from the creation stories of the first inhabitants, to the tall tales of the Western frontier, to the legendary outlaws of the 1920s, and beyond. This thoroughly engaging anthology is sweeping in its scope ...

This marvelous collection brings together the great myths and legends of the United States--from the creation stories of the first inhabitants, to the tall tales of the Western frontier, to the legendary outlaws of the 1920s, and beyond. This thoroughly engaging anthology is sweeping in its scope, embracing Big Foot and Windigo, Hiawatha and Uncle Sam, Paul Revere and Billy the Kid, and even the Iroquois Flying Head and Elvis. In the book's section on dogmas and icons, for instance, Leeming and Page discuss the American melting pot, the notion of manifest destiny, and the imposing historical and literary figure of Henry Adams. And under Heroes and Heroines, they have assembled everyone from "Honest Abe" Lincoln and George "I Cannot Tell a Lie" Washington to Bessie Smith, Billie Holiday, and Martin Luther King, Jr. For every myth or hero rendered here, the editors include an informative yet readable excerpt, often the definitive account of the story in question. Taken as a whole, Myths, Legends, and Folktales of America reveals how waves of immigrants, encountering this strange land for the first time, adapted their religions, beliefs, and folklore to help make sense of a new and astounding place. Covering Johnny Appleseed and Stagolee as well as Paul Bunyan and Moby Dick, this wonderful anthology illuminates our nation's myth-making, enriching our idea of what it means to be American.

Satire's real purpose, as a literary genre, is to criticize through humor, irony, caricature, and parody, and, ultimately, to defy the status quo. In African American Satire, Darryl Dickson-Carr provides the first book-length study of African American satire and the vital role it has played, and in ...

Satire's real purpose, as a literary genre, is to criticize through humor, irony, caricature, and parody, and, ultimately, to defy the status quo. In African American Satire, Darryl Dickson-Carr provides the first book-length study of African American satire and the vital role it has played, and in the process investigates African American literature, American literature, and the history of satire.

Dickson-Carr argues that major works by such authors as Rudolph Fisher, Ishmael Reed, Ralph Ellison, Langston Hughes, and George S. Schuyler should be read primarily as satires in order to avoid misinterpretation and to gain a greater understanding of their specific meanings and the eras in which they were written. He also examines the satirical rhetoric and ideological bases of complex works such as John Oliver Killens's The Cotillion and Cecil Brown's The Life and Loves of Mr. Jiveass Nigger -- books that are currently out of print and that have received only scant critical attention since they were first published.

Beginning with the tradition of folk humor that originated in West Africa and was forcibly transplanted to the Americas through chattel slavery, Dickson-Carr focuses in each chapter on a particular period of the twentieth century in which the African American satirical novel flourished. He analyzes the historical contexts surrounding African American literature and culture within discrete crucial movements, starting with the Harlem Renaissance of the 1920s and ending in the present. He also demonstrates how the political, cultural, and literary ethos of each particular moment is manifested and contested in each text.

By examining these texts closely within their historicaland ideological contexts, Dickson-Carr shows how African American satirical novels provide the reader of African American literature with a critique of popular ideologies seldom found in nonsatirical works. Providing a bett