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This study charts Bayard Rustin’s contentious career as a biographical subject, from 1987 to 2013. Interpreting biographies of Rustin as “ethically constitutive stories,” I argue that shifting accounts of his life-history address public debates over issue definition and political conduct in the wake of the Civil Rights Movement. At stake in rival portrayals of Rustin, then, is not just memory of him but the very idea of civil rights, including how and by whom such rights were—and ought to be—pursued. The article examines the production and reception of two distinct waves of biographical representation, with close attention to how each narrates the pursuit and proper locus of civil rights. I end with notes toward an alternate rendering of Bayard Rustin. Instead of recovering his singular authority vis-à-vis the Civil Rights Movement, the concluding “story” reckons with the manifold history of black politics by reappraising the specificity of “black and gay” peoplehood.

ON A FRIGID January 10th, 2010, I found myself driving from Yale University to upstate New York on narrow roller-coaster country roads to SusAnna and Joel Graes mountaintop cottage with Roderick Mcintosh, Yale's professor of archaeology and curator of the African collection at the Yale Peabody Museum of Natural History. [...]we know almost nothing about the cultures that created these works of art. The grand installation of thirty major figures in terracotta and stone, set in a contextual design evoking the natural setting of the sandy terrain of the Sahel (the border of the Sahara) with a wall-sized photo-mural of an archaeological excavation, all praised in a New York Times art review by Holland Cotter in 2012, are gone. Correctly, she pointed out that the antiquities from Sokoto and Katsina were unknown to the international art market in the 1950s when Rustin is supposed to have collected them in Nigeria.

On November 20, 2013, Bayard Rustin was posthumously awarded the prestigious Presidential Medal of Freedom by President Barack Obama. Who was this man? He was there at most of the important events of the Civil Rights Movement - but always in the background. Brother Outsider: The Life of Bayard Rustin asks \"Why?\" It presents a vivid drama, intermingling the personal and the political, about one of the most enigmatic figures in 20th-century American history. One of the first \"freedom riders,\" an adviser to Dr. Martin Luther King, Jr. and A. Philip Randolph, organizer of the march on Washington, intelligent, gregarious and charismatic, Bayard Rustin was denied his place in the limelight for one reason - he was gay. Rustin was born in 1912 into a Pennsylvania Quaker family steeped in ideas of social justice and non-violence. He moved to Harlem during the socially and culturally tumultuous 1930s and, after a brief flirtation with the Communist Party found a more congenial home in A.J. Muste's pacifist Fellowship of Reconciliation. While there, he served prison terms for resisting the draft during World War II and later for integrating interstate buses. When A. Philip Randolph, aging head of the Black labor movement, turned to the fellowship for tactical help, Rustin worked closely with him and developed a belief that the labor movement offered the best hope for Black advancement. Then in 1953, Rustin was arrested during a casual homosexual encounter. A.J. Muste forced him out of the fellowship. When the Montgomery bus boycott was launched, he went to Alabama in 1956 and became a mentor in non-violence to the 26-year-old Dr. Martin Luther King, Jr. Though Rustin would advise the younger civil rights leader until his assassination in 1968, King broke publicly with Rustin in 1960, when Representative Adam Clayton Powell threatened King over the issue of Rustin's homosexuality. But when the 1963 march on Washington was proposed, the civil rights leadership recognized there was only one man who could organize it - Bayard Rustin. After the march's overwhelming success Rustin forged the fragile alliance between the labor unions, the Civil Rights Movement and the Democratic Party which was responsible for much of the landmark civil rights legislation of the 1960's. Later on, Rustin angered former colleagues by not speaking out against the war in Vietnam, and by taking controversial stands against Black Nationalism and affirmative action. In the 1970s and 1980s, he returned to his early interest in international affairs and human rights, working on behalf of refugees around the world. Brother Outsider: The Life of Bayard Rustin contributes a fascinating new chapter to our understanding of both progressive movements and gay life in 20th-century America.

Abstract (by author): The essay is a consideration of history and heritage, love and power, speech and silence in these two particular Merchant Ivory works, an essay produced at a time when there are new books and articles on Thomas Jefferson and Henry James, the two principal historical figures attached to these films. The subject is one we consider in grade school and during election periods, and sometimes as we try to work with others or take on important tasks ourselves—but the answer, no matter which faculties and forces and values and virtues are named, must be lived with efficiency and conviction: courage and creativity, and honesty and intelligence, and charisma, commitment, confidence, eloquence, energy, fellowship, knowledge, judgement, method, nurturing, responsibility, self-awareness, sense, spirit, trust, and vision. There are, of course, documentaries on some of these people—such as Fundi: The Story of Ella Baker (Joanne Grant, 1981) and Brother Outsider: The Life of Bayard Rustin (Nancy Kates and Bennett Singer, 2003), two civil rights activists—and television has given us some noteworthy programs, but it seems as if the best theatrical films about American leadership and politics have been fiction features, whether dramas or comedies—such as All the Kings Men and The Candidate, _Citizen _Kane, Primary Colors, and Wag the Dog. “Cinema is a symbiotic medium, in the sense that it mediates between the human and the nonhuman, art and nature, and by doing so, it enhances both sides, as long as the two are willing to accept each other and celebrate their ontological differences,” said Angela Dalle Vacche in her consideration of Andre Bazin’s thinking in “The Difference of Cinema in the System of the Arts” (Opening Bazin: Postwar Film Theory and Its Afterlife, edited by Dudley Andrew with Herve Joubert-Laurencin, Oxford University Press, 2011; page 148).

Guantanamo was and remains an internment camp, and during my early childhood—under Bill Clinton’s administration—200 Haitian refugees at Guantanamo, led by Michel Vilsaint, participated in a hunger strike. During these demonstrations, they were not only concerned about the passage of individual family members who were intercepted at sea or detained by US immigration authorities, they were creating a new diasporic enclave that bestowed dignity grounded on collective affirmation and renewal. Protests can be the blueprint for a world people want to create, as I witnessed during my childhood when Haitians led a movement to preserve their right to migrate and live freely in the US, while embracing a protest culture sprinkled with music, dance, and joy.

[...]seemingly unrelated, I often ignored the peritext of books. The author also describes how Rustin supported Martin Luther King, Jr.'s efforts more so from the background so as not to cause embarrassment or stifle potential progress due to his sexual orientation and subsequent threats made against him. While much of the author's note provides information about Haring's prolific art, including information about his sexual orientation and philanthropic work provides important context and representation. Similar to the timelines described above, this detail in the peritext does not explicitly reveal the focal person's sexual orientation since the suggested book could simply provide context about the time period or work.

A section of a Special Issue of the Journal of International Women's Studies dedicated to pioneering Black Lesbian Feminist scholar, activist, artist, teacher Angela Bowen, Ph.D. (1936-2018.) The special issue contains sample materials from Bowen's archive, which will be housed at Spelman College, including writings, audio and video of speeches, and photos documenting her career as a dancer, her friendship with and scholarship on Audre Lorde, her activism on Black lesbian and gay issues, and her career in Women's Studies, among other topics. This section focuses on her speeches and published writing on feminist and LGBTQ issues from the early 1980s to the early 2000's on topics ranging from the first black Miss America to the relationship between racial justice and lesbian and gay issues to lesbian motherhood and gay marriage.

(ProQuest: ... denotes non-US-ASCII text omitted.) Exclusive Online Reviews In 1974, when the Supreme Court heard DeFunis v. Odegaard, a challenge to the University of Washington Law School's affirmative-action program, Pauli Murray unburdened herself in letters to Justices William O. Douglas and Thurgood Marshall. [...]DeSlippe concludes, these reform-minded critics of affirmative action yielded influence to conservatives, whose clarity of message and political ascendance eventually eclipsed their more progressive predecessors. \"Higher education affirmative action,\" for instance, includes both college admissions policies and faculty employment, different settings governed by different legal rules.