"This is a book of stories," writes Henry Louis Gates, "and all might be described as 'narratives of ascent.'" As some remarkable men talk about their lives, many perspectives on race and gender emerge. For the notion of the unitary black man, Gates argues, is as imaginary as the creature that the poet Wallace Stevens conjured in his poem "Thirteen Ways of Looking at a Blackbird." James Baldwin, Colin Powell, Harry Belafonte, Bill T. Jones, Louis Farrakhan, Anatole Broyard, Albert Murray -- all these men came from modest circumstances and all achieved preeminence. They are people, Gates writes, "who have shaped the world as much as they were shaped by it, who gave as good as they got." Three are writers -- James Baldwin, who was once regarded as the intellectual spokesman for the black community; Anatole Broyard, who chose to hide his black heritage so as to be seen as a writer on his own terms; and Albert Murray, who rose to the pinnacle of literary criticism. There is the general-turned-political-figure Colin Powell, who discusses his interactions with three United States presidents; there is Harry Belafonte, the entertainer whose career has been distinct from his fervent activism; there is Bill T. Jones, dancer and choreographer, whose fierce courage and creativity have continued in the shadow of AIDS; and there is Louis Farrakhan, the controversial religious leader. These men and others speak of their lives with candor and intimacy, and what emerges from this portfolio of influential men is a strikingly varied and profound set of ideas about what it means to be a black man in America today.

"Uses Roth's novels as springboards to illuminate larger problematics of victimization, gender, racism and anti-Semitism"--

Building on the success and importance of three previous volumes, Relational Psychoanalysis continues to expand and develop the relational turn. Under the keen editorship of Lewis Aron and Adrienne Harris, and comprised of the contributions of many of the leading voices in the relational world, Volume 4 carries on the legacy of this rich and diversified psychoanalytic approach by taking a fresh look at recent developments in relational theory. Included here are chapters on sexuality and gender, race and class, identity and self, thirdness, the transitional subject, the body, and more. Thoughtful, capacious, and integrative, this new volume places the leading edge of relational thought close at hand, and pushes the boundaries of the relational turn that much closer to the horizon. Contributors: Neil Altman, Jessica Benjamin, Emanuel Berman, Jeanne Wolff Bernstein, Susan Coates, Ken Corbett, Muriel Dimen, Martin Stephen Frommer, Jill Gentile, Samuel Gerson, Virginia Goldner, Sue Grand, Hazel Ipp, Kimberlyn Leary, Jonathan Slavin, Malcolm Owen Slavin, Charles Spezzano, Ruth Stein, Melanie Suchet.

Educator, writer, critic, intellectual, film-maker-Henry Louis Gates, Jr., has been widely praised as being one of America's most prominent and prolific scholars. In what will be an essential volume, The Henry Louis Gates, Jr., Reader collects three decades of writings from his many fields of interest and expertise. From his earliest work of literary-historical excavation in 1982, through his current writings on the history and science of African American genealogy, the essays collected here follow his path as historian, theorist, canon-builder, and cultural critic, revealing a thinker of uncommon breadth whose work is uniformly guided by the drive to uncover and restore a history that has for too long been buried and denied. An invaluable reference, The Henry Louis Gates, Jr., Reader will be a singular reflection of one of our most gifted minds.

In 1952, Ralph Ellison (1914-1994) published his novel Invisible Man, which transformed the dynamics of American literature. The novel won the National Book Award, extended the themes of his early short stories, and dramatized in fictional form the cultural theories expressed in his later essay collections Shadow & Act and Going to the Territory. In Shadowing Ralph Ellison, John Wright traces Ellison's intellectual and aesthetic development and the evolution of his cultural philosophy throughout his long career. The book explores Ellison's published fiction, his criticism and correspondence, and his passionate exchanges with—and impact on—other literary intellectuals during the Cold War 1950s and during the culture wars of the 1960s, 1970s, and 1980s. Wright examines Ellison's body of work through the lens of Ellison's cosmopolitan philosophy of art and culture, which the writer began to construct during the late 1930s. Ellison, Wright argues, eschewed orthodoxy in both political and cultural discourse, maintaining that to achieve the highest cultural awareness and the greatest personal integrity, the individual must cultivate forms of thinking and acting that are fluid, improvisational, and vitalistic—like the blues and jazz. Accordingly, Ellison elaborated throughout his body of work the innumerable ways that rigid cultural labels, categories, and concepts—from racial stereotypes and fashionable academic theories to conventional political doctrines—fail to capture the full potential of human consciousness. Instead, Ellison advocated forms of consciousness and culture akin to what the blues and jazz reveal, and he portrayed those musical traditions as the best embodiment of the evolving American spirit.

In this volume, DeWitt Henry has collected some of the finest contemporary writing about loss and the grieving process, essays that explore emotional trauma in finely crafted prose. Debra Spark recounts her sister's death and reflects on all of the ideas that have helped her come to terms with grief. William Gibson writes eloquently of his mother's passing with a new understanding of the cycles of life. Andre Dubus describes the terrible loss of mobility he suffered in a freak accident, and what his pain and disability taught him about the human will. Transported back to her native Antigua and to all the complexities of a difficult childhood, Jamaica Kincaid confronts her brother's ostracism and death from AIDS. All of the pieces reflect, in some aspect, the tenacity, the strength to go forward and to love, that has informed these life journeys andthe resolve that "what matters is not what becomes of us, but what we become." This collection offers a unique perspective on loss, a depth of insight and compassion that only such masterful writers could summon.

In this acclaimed memoir, Bliss Broyard, daughter of the literary critic Anatole Broyard, examines her father's choice to hide his racial identity, and the impact of this revelation on her own life. Two months before he died, renowned literary critic Anatole Broyard called his grown son and daughter to his side to impart a secret he had kept all their lives and most of his own: he was black. Born in the French Quarter in 1920, Anatole had begun to conceal his racial identity after his family moved to Brooklyn and his parents resorted to "passing" in order to get work. As he grew older and entered the ranks of the New York literary elite, he maintained the favßade. Now his daughter Bliss tries to make sense of his choices. Seeking out unknown relatives in New York, Los Angeles, and New Orleans, Bliss uncovers the 250-year history of her family in America and chronicles her own evolution from privilged WASP to a woman of mixed-race ancestry.

If the twentieth century was the American century, it can be argued that it was more specifically the New York century, and Greenwich Village was the incubator of every important writer, artist, and political movement of the period. From the century's first decade through the era of beatniks and modern art in the 1950s and '60s, Greenwich Village was the destination for rebellious men and women who flocked there from all over the country to fulfill their artistic, political, and personal dreams. It has been called the most significant square mile in American cultural history, for it holds the story of the rise and fall of American socialism, women's suffrage, and the commercialization of the avant-garde. One Villager went so far as to say that "everything started in the Village except Prohibition," and in the 1940s, the young actress Lucille Ball said, "The Village is the greatest place in the world." What other community could claim a spectrum ranging from Henry James to Marlon Brando, from Marcel Duchamp to Bob Dylan, from Gertrude Vanderbilt Whitney to Abbie Hoffman? The story of the Village is, in large part, the stories old Villagers have told new Villagers about former Villagers, and to tell its story is in large part to tell its legends. Republic of Dreams presents the remarkable, outrageous, often interrelated biographies of the giants of American journalism, poetry, drama, radical politics, and art who flocked to the Village for nearly half a century, among them Eugene O'Neill, whose plays were first produced by the Provincetown Players on Macdougal Street, for whom Edna St. Vincent Millay also wrote; Jackson Pollock, who moved to the Village from Wyoming in 1930 and was soon part of the group of 8th Street painters who would revolutionize Western painting; E. E. Cummings, who lived for years on Patchin Place, as did Djuna Barnes; Max Eastman, who edited the groundbreaking literary and political journal The Masses, which introduced Freud to the American public and also published Sherwood Anderson, Amy Lowell, Upton Sinclair, Maksim Gorky, and John Reed's reporting on the Russian Revolution. Republic of Dreams is beautifully researched, outspoken, wise, hip, exuberant, a monumental, definitive history that will endure for decades to come.

A career-spanning collection of critical essays and cultural journalism from one of the most acute, entertaining, and sometimes acerbic (but in a good way) critics of our time From his early-seventies dispatches as a fledgling critic for The Village Voice on rock ’n’ roll, comedy, movies, and television to the literary criticism of the eighties and nineties that made him both feared and famous to his must-read reports on the cultural weather for Vanity Fair, James Wolcott has had a career as a freelance critic and a literary intellectual nearly unique in our time. This collection features the best of Wolcott in whatever guise—connoisseur, intrepid reporter, memoirist, and necessary naysayer—he has chosen to take on. Included in this collection is “O.K. Corral Revisited,” a fresh take on the famed Norman Mailer–Gore Vidal dustup on The Dick Cavett Show that launched Wolcott from his Maryland college to New York City (via bus) to begin his brilliant career. His prescient review of Patti Smith’s legendary first gig at CBGB leads off a suite of eyewitness and insider accounts of the rise of punk rock, while another set of pieces considers the vast cultural influence of the enigmatic Johnny Carson and the scramble of his late-night successors to inherit the “swivel throne.” There are warm tributes to such diverse figures as Michael Mann, Sam Peckinpah, Lester Bangs, and Philip Larkin and masterly summings-up of the departed giants of American literature—John Updike, William Styron, John Cheever, and Mailer and Vidal. Included as well are some legendary takedowns that have entered into the literary lore of our time. Critical Mass is a treasure trove of sparkling, spiky prose and a fascinating portrait of our lives and cultural times over the past decades. In an age where a great deal of back scratching and softball pitching pass for criticism, James Wolcott’s fearless essays and reviews offer a bracing taste of the real critical thing.