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In this searching study, Nghana Lewis offers a close reading of the works and private correspondences, essays, and lectures of five southern white women writers: Julia Peterkin, Gwen Bristow, Caroline Gordon, Willa Cather, and Lillian Smith. At the core of this work is a sophisticated reexamination of the myth of southern white womanhood.Lewis overturns the conventional argument that white women were passive and pedestal-bound. Instead, she argues that these figures were complicit in the day-to-day dynamics of power and authorship and stood to gain much from these arrangements at the expense of others.At the same time that her examination of southern mythology explodes received wisdom, it is also a journey of self-discovery. As Lewis writes in her preface, \"As a proud daughter of the South, I have always been acutely aware of the region's rich cultural heritage, folks, and foodstuffs. How could I not be? I was born and reared in Lafayette, Louisiana, where an infant's first words are not 'da-da' and 'ma-ma' but 'crawfish boil' and 'fais-do-do.' . . . I have also always been keenly familiar with its volatile history.\" Where these conflicting images-and specifically the role of white southern women as catalysts, vindicators, abettors, and antagonists-meet forms the crux of this study. As such, this study of the South by a daughter of the South offers a distinctive perspective that illuminates the texts in novel and provocative ways.

This essay contributes to debates about the impact of HIV/AIDS on women of African descent by juxtaposing two challenges facing rural sub-Saharan African women today: HIV/AIDS and the water crisis. When analyzed in juxtaposition and in the specific context of rural sub-Saharan Africa, the HIV/AIDS and water crises represent an issue of environmental justice. The remediation of these two crises requires comprehension of the interrelations among the political history of sub-Saharan Africa. It requires an understanding of the policies driving global relief efforts that target rural sub-Saharan populations. And it requires insight into the socioeconomic needs of rural sub-Saharan African women as well as the cultural resources among this population that can be mobilized to help resolve the problem.

No detailed description available for \"Watching While Black Rebooted!\".

Lewis talks about Mulatto, Langston Hughes' first full-length and professionally produced play. As an extended improvisation of the poem Cross and short story Father and Son, and serving as the plot foundation for the libretto The Barrier, Mulatto is among Hughes' most innovatively adapted works. It is among several works that Hughes published in the first half of the twentieth century that address the figure of the tragic mulatto and related themes of mixed-race ancestry and biracial identity. Set on an isolated Southern plantation, the play chronicles the plight of a young man's struggle over his mixed-race heritage and eventual self-destruction because of it. Though events in the play take place after the Civil War, the dialogue among characters lets people know that the setting remains regulated by the racial, gender, and sexual mores of the antebellum South.

Lewis profiles the life and works of Julia Mood Peterkin. He also comments on one of the handful of Peterkin's fiction novel entitled On a Plantation.

Black feminism is not a monolithic enterprise. But it starts to look that way in critical treatment of the intercourse among the blues, black female sexuality, and cultural agency. Here, Lewis asserts that the practice of dichotomizing black male- and female-authored blues constructions of black women and black female sexuality vitiates the life of the medium-the fluidity to the blues and its ability to circumvent diametrically opposed categorical analyses.

This article examines cultural issues with traditional English language arts and literacy instruction that surface in a novel set in a small Louisiana town in the aftermath of the Supreme Court's ruling in Brown v. Board of Education. The novel's instructions on public school integration, in a highly localized context, anticipate and explain the current crisis in public school education, specifically as it relates to the achievement gap between black children and their white counterparts.

This article examines cultural issues with traditional English language arts and literacy instruction that surface in a novel set in a small Louisiana town in the aftermath of the Supreme Court's ruling inBrown v. Board of Education. The novel's instructions on public school integration, in a highly localized context, anticipate and explain the current crisis in public school education, specifically as it relates to the achievement gap between black children and their white counterparts.

Today, among critical and popular audiences alike, hip-hop encompasses both the specific musical arrangements and delivery that emerged from the Bronx in the late 1970s and the cultural practices in dance, art, and fashion that as a result of American capitalism, are strongly identified with youth culture in the United States and abroad (Queeley 2003,14-4; Kelley 1998).1 Among critical and popular audiences alike, Ndegeocello, with six albums, nine Grammy nominations, and collaborations with Chaka Khan, Ben Harper, Bootsy Collins, Prince, Mick Jagger, Madonna, John Mellencamp, Alanis Morissette, Lenny Kravitz, Sarah McLachlan, Dolly Parton, Talib Kweli, and Missy Elliott to her credit, remains, as Tate and other critics have opined throughout her twelve-year career, a \"multithreat performer,\" whose signature capacity to interpret the interflows of rhythms typically associated with black music renders her a marvel unto herself in the realm of hip-hop (Tate 1994, 22). Against an assessment of hip-hop music's transformation from a \"hidden transcript,\" as Tricia Rose (1994, 100-101) characterized it, \"engaged in symbolic and ideological warfare with institutions and groups that symbolically, ideologically, and materially oppress African Americans,\" to a lead player in the globalization of American popular culture, I examine Cookie's register of the contradiction in hiphop's continued reliance on flat projections of black female sexuality alongside its image-rich projections of black male self-determination in a capitalist and still largely racist society.