"Can't live with them, can't live without them. From time immemorial, men and women have engaged in the eternal struggle. No one is immune from the lures of the mysterious and perplexing differences that create so much of the exhilarating, frustrating, and romantic textures of our lives." "In this provocative collection of nonfiction pieces, Marita Golden, the critically acclaimed novelist, and fourteen other African-American women writers talk - each in their own distinctive style - about love, men, and sex. These essays - nine of which were written expressly for this book - range in style and content from Audre Lorde's now classic polemic on eroticism to Miriam DeCosta-Willis's moving essay about her husband to Audrey B. Chapman's hopeful "Black Men Do Feel About Love." Some are saucy, some spicy, a few use words not usually heard in polite company, and a few of them will leave you gasping or stunned. All of the essays are explorations into the contemporary black female psyche." "Golden has contributed an introduction and prefatory commentary for each piece, which adds luster to the whole. Unique in its concept, exemplary in its execution, Wild Women Don't Wear No Blues should quickly achieve an important place in the growing canon of African-American literature."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

“Don’t play in the sun. You’re going to have to get a light-skinned husband for the sake of your children as it is.” In these words from her mother, novelist and memoirist Marita Golden learned as a girl that she was the wrong color. Her mother had absorbed “colorism” without thinking about it. But, as Golden shows in this provocative book, biases based on skin color persist–and so do their long-lasting repercussions. Golden recalls deciding against a distinguished black university because she didn’t want to worry about whether she was light enough to be homecoming queen. A male friend bitterly remembers that he was teased about his girlfriend because she was too dark for him. Even now, when she attends a party full of accomplished black men and their wives, Golden wonders why those wives are all nearly white. From Halle Berry to Michael Jackson, from Nigeria to Cuba, from what she sees in the mirror to what she notices about the Grammys, Golden exposes the many facets of "colorism" and their effect on American culture. Part memoir, part cultural history, and part analysis, Don't Play in the Sun also dramatizes one accomplished black woman's inner journey from self-loathing to self-acceptance and pride.

This book explores the relationship between three African American women's dance-art-music sensibilities within the context of a Pan African aesthetic. Its purpose is three-fold: to show commonalities between Bessie Smith, Billie Holiday and Nina Simone's lives and original compositions; to codify, examine and evaluate their selected song performances in accordance with the Pan African aesthetic "Nzuri theory/model;" and to illuminate the vast sources of transformational values that aesthetic analysis of African American song performance can foster. Following concordant procedures and principles of Afrocentricity, the study focuses on Smith, Holiday and Simone's performances as part of a whole African artistic and cultural value system. The goal of the Afrocentric methodological structure is to locate relevant African dynamics in songs and to promote knowledge for cultural transformation and continuity. Its use in this study provides meta-criteria for analyzing African American music, which the author has used to uniquely argue connections between African cultural memory and African-derived cultural expression.

A 2018 NAACP Image Award nominee and an NPR Best Book of 2017, a moving African-American family drama of love, devotion, and Alzheimer’s disease. Diane Tate never expected to slowly lose her talented husband to the debilitating effects of early-onset Alzheimer’s disease. As a respected family court judge, she’s spent her life making tough calls, but when her sixty-eight-year-old husband’s health worsens and Diane is forced to move him into an assisted living facility, it seems her world is spinning out of control. As Gregory’s memory wavers and fades, Diane and her children must reexamine their connection to the man he once was—and learn to love the man he has become. For Diane’ daughter Lauren, it means honoring her father by following in his footsteps as a successful architect. For her son Sean, it means finding a way to repair the strained relationship with his father before it’s too late. Supporting her children in a changing landscape, Diane remains resolute in her goal to keep her family together—until her husband finds love with another resident of the facility. Suddenly faced with an uncertain future, Diane must choose a new path—and discover her own capacity for love.

14 African American women explore the Black female psyche in uncompromising terms.

In this book, contributors argue that the Black Church must begin to address the significance of sexuality if it is to actually present liberation as a mode of existence that fully appreciates the body. The contributors argue that we not only have to look at the Black Church in this discussion, but also explore black Christianity in general.

In the twenty-first century, American popular culture increasingly makes visible the performance of African spirituality by black women. Disney’s Princess and the Frog and Pirates of the Caribbean franchise are two notable examples. The reliance on the black priestess of African-derived religion as an archetype, however, has a much longer history steeped in the colonial othering of Haitian Vodou and American imperialist fantasies about so-called ‘black magic’. Within this cinematic study, Martin unravels how religious autonomy impacts the identity, function, and perception of Africana women in the American popular imagination. Martin interrogates seventy-five years of American film representations of black women engaged in conjure, hoodoo, obeah, or Voodoo to discern what happens when race, gender, and African spirituality collide. She develops the framework of Voodoo aesthetics, or the inscription of African cosmologies on the black female body, as the theoretical lens through which to scrutinize black female religious performance in film. Martin places the genre of film in conversation with black feminist/womanist criticism, offering an interdisciplinary approach to film analysis. Positioning the black priestess as another iteration of Patricia Hill Collins’ notion of controlling images, Martin theorizes whether film functions as a safe space for a racial and gendered embodiment in the performance of African diasporic religion. Approaching the close reading of eight signature films from a black female spectatorship, Martin works chronologically to express the trajectory of the black priestess as cinematic motif over the last century of filmmaking. Conceptually, Martin recalibrates the scholarship on black women and representation by distinctly centering black women as ritual specialists and Black Atlantic spirituality on the silver screen.

When the women of the Wellesley class of 1969 entered the ivory tower, they were initiated into a rarefied world. Many were daughters of privilege, many were going for their "MRS." But by the time they graduated four years later, they faced a world turned upside down by the Pill, NOW, student protests, the counterculture, and the Vietnam War. In this social history, Miriam Horn retraces the lives of women caught on a historic cusp. This generation was the first to test-drive modern rules that remain complicated and contentious regarding sexuality, marriage, motherhood, paid work, spirituality, aging, and the difficulties of reconciling public and private life. The result is a story of uncommon subtleties and vibrancy that reflects this generation's fateful choices.

Renowned African-American poet Sonia Sanchez explores the pain, self-doubt, and anger that emerge in women's lives: an unfaithful life partner, a brutal rape, the murder of a woman by her granddaughter, the ravages of drugs. Sanchez transforms the unspoken and sometimes violent betrayals of our lives into a liberating vision of connection in emotional redemption, compassion, and self-fulfillment.

A new and exciting collection from Patricia Bell-Scott, the editor of the enormously successful Life Notes and the award-winning Double Stitch. With a foreword by Marcia Ann Gillespie. To tell the flat-footed truth is a southern saying that means to tell the naked truth. This revealing and inspiring anthology brings together twenty-seven creative spirits who through essays, interviews, poetry, and photographic images tell black women's lives. In the opening section that discusses the risks involved in sharing your life with others, Sapphire tells us about the challenges in recording her experiences when there has never been any validation that her life was important. The next section chronicles the adventure in claiming the lives of those who have been lost or neglected, such as Alice Walker's search for the real story of Zora Neale Hurston. The third part, which affirms lives of resistance, includes Audre Lorde's acclaimed essay "Poetry Is Not a Luxury." The final chapter, focusing on transformed lives, presents an insightful interview with Sonia Sanchez. This wonderful collection, featuring such writers as bell hooks, Barbara Smith, Marcia Ann Gillespie, and Pearl Cleage, is testimony to a flourishing literary tradition, filled with daring women, that will inspire others to tell their own stories.