Showing posts with label About Race. Show all posts
Showing posts with label About Race. Show all posts

Sunday, October 25, 2020

Book Review: WANDERING IN STRANGE LANDS

WANDERING IN STRANGE LANDS: A DAUGHTER OF THE GREAT MIGRATION RECLAIMS HER ROOTS
HARPERCOLLINS – @HarperCollins

[This review was originally posted on Patreon.]

AUTHOR: Morgan Jerkins
ISBN: 978-0-06-287304-0; hardcover (August 4, 2020)
304pp, B&W, $27.99 U.S.

Wandering in Strange Lands: A Daughter of the Great Migration Reclaims Her Roots is the new nonfiction book from Morgan Jerkins, magazine editor and writer, cultural critic, and bestselling author of the book, This Will Be My Undoing.  In Wandering in Strange Lands, Jerkins journeys across the United States in order to understand her roots, the Great Migration, and the displacement of black people across America.

At the center of Wandering in Strange Lands is the fact that between 1916 and 1970, six million black Americans left their rural homes in the South for jobs in cities in the North, West, and Midwest.  This movement is known as The Great Migration, and it was an event that transformed the complexion of America.  The Great Migration brought black people to new economic opportunities, but Morgan Jerkins argues that this massive movement also left African-Americans disconnected from their roots, their land, and their sense of identity.  Both sides of Jerkins family made the Great Migration, but to what extent?  Who were the family members left behind?  Who are the founders of her family lines?

Jerkins decided to fill in the gaps in her own personal story and in the gaps in the history of both her mother and her father's families.  She decided to do this by recreating her ancestors’ journeys across America, following the migratory routes they took from Georgia and South Carolina to Louisiana, to Oklahoma, and to California.

Jerkins follows in her people's footsteps, backwards and forwards, as she seeks to understand not only her own past, but also the lineage of her family and of the entire group of black people who have been displaced, disenfranchised, and disrespected throughout our history as a nation.  Jerkins conducts interviews with family, with friends, and with new friends who might be family.  She takes photos and collects hundreds of pages of transcription – all of this to gather those loose threads of her family’s oral histories that she might make something whole and hopefully complete.  Along the way, she is disabused of some of her notions, and she starts to wonder – who controls our stories?

THE LOWDOWN:  My paternal grandmother supposedly had American Indian heritage.  Her and her siblings were of so many different skin tones that when I met some of them, I did not realize that they were her siblings.  Three of my grandmother's brothers were part of the Great Migration, heading to Detroit for jobs in the automobile industry a long, long time ago.  I met them at my grandmother's funeral decades ago.

My maternal grandmother turned out to be the child of former slave, which means my mother was the grandchild of a former slave.  Also “the old white man” who came to play with me whenever I visited my maternal grandmother was actually her wayward husband and my mother's father.  My mother, who died a few years ago, was the keeper of detailed histories of both her and her husband's families.  Mama always had a story.  I never recorded them, and now, that she is passed, I feel helpless as I try to rediscover the stories from which I will regrow the family tree.

Wandering in Strange Lands is the story of someone, in this case, a young woman named Morgan Jerkins, who wants to braid the loose threads of the oral histories of both sides of her family.  She backtracks across the Great Migration to learn about the Gullah Geechee.  She plumbs the mystery of water, of root work, and of root doctors in the Lowcountry of Georgia and South Carolina.

Jerkins heads to Louisiana and visits Natchitoches and Cane River to meet the “Creole” people she once dismissed.  She travels south to the Louisiana cities of Lafayette and St. Martinville and discovers her connections to Voodoo.  Then, it's on to Oklahoma where threads of her family lead back to North Carolina and Florida and to the stories of the “Freedmen,” “by-blood Indians,” and the “Dawes Roll.”  Finally, Jerkins returns to California and to Los Angeles where the Great Migration took black people to a place where things were supposed to be much better than in rest of the racist United States... or so they believed.  But it wasn't.

I have been steadily writing reviews for almost twenty years, yet I don't have the words to describe the epic scope of Morgan Jerkins deeply personal story.  I can't describe the power this book has; sometimes, I thought it put some hoodoo on me.  Jerkins' journey to connect the disparate parts of her family history and their origins is her own story.  Somehow, she connects me with and into her story, and I think that she will do that to everyone who reads her book.

Morgan Jerkins makes Wandering in Strange Lands a nonfiction work of black history and of American history.  It is a book of religion and of culture, and it is an indictment of America's systemic white racism and pernicious white privilege.  The lens through which Jerkins tells this story is a microscope for her family's history and a telescope gathering in the star fields of black history.

In the awful year that is 2020, Wandering in Strange Lands might seem to be the book that was meant to be here.  It is not a prophetic work, but the prophets wanted it to be here now.  So...yeah... I'm saying it's a must-read.

I READS YOU RECOMMENDS:  Readers interested in the stories and oral histories of African-American families will find an essential book in Wandering in Strange Lands: A Daughter of the Great Migration Reclaims Her Roots.

10 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"

https://twitter.com/MorganJerkins


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Sunday, August 30, 2020

Book Review: SURRENDER, WHITE PEOPLE!

SURRENDER, WHITE PEOPLE!: OUR UNCONDITIONAL TERMS FOR PEACE
WILLIAM MORROW/HarperCollins

[This review was originally posted on Patreon.]

AUTHORS: D.L. Hughley and Doug Moe
ISBN: 978-0-06-295370-4; hardback; 5.5 x 7.25 (June 30, 2020)
256pp, B&W, $27.99 U.S., $34.99 CAN

Surrender, White People!: Our Unconditional Terms for Peace is a 2020 non-fiction, humor, and social commentary book written by D.L Hughley and Doug Moe.  Hughley is an actor, comedian, and longtime social activist, and Moe is a writer and an actor and performer associated with the “Upright Citizens Brigade.”

Surrender, White People!: Our Unconditional Terms for Peace works under the premise that America is about to become a majority-minority nation, and Hughley has a warning for White people.  White people are not only going to be a minority themselves, but they are also going to face a reckoning.  It is time for White people to sue for peace, and have some fun while D.L. holds them for accountable and lays out the details.  Have a laugh and Surrender, White People!

Hughley says that in a browner America black and brown people are not going to take a backseat anymore.  Thus, it is time for White people to surrender their unjust privileges; face their history, put aside all their visions of superiority, and open up their institutions so they benefit everyone in this nation.

Luckily for America... and for White people, D.L. has a plan.  If White people go along with it, the might actually get Black people (finally!) to stop talking about oppression, discrimination, and their place in America

THE LOWDOWN:  I have never read any of D.L. Hughley's books, including How Not to Get Shot, but after reading Surrender, White People!, I feel that I need to do so.  I am a longtime fan of Hughley's stand-up comedy and especially of his political and social commentary. He is one of the sharpest and most honest commentators on race relations, race awareness.  He is especially good speaking and writing on the inequalities in the United States and of the historic and systemic oppression of African slaves and their descendants at the hands of White people in America.

The premise of Surrender, White People! is that we need a peace treaty between Black folks and White people.  However, D.L. says there can only be peace and reconciliation if White people give up their “White privileges” and renounce “White supremacy.”

D.L.'s treaty is a kind of new constitution that has a preamble and six articles.  Hughley and Moe fill the articles with facts, history, and examples of why each article is necessary.  There is triple truth, Ruth, and genuine, even uproarious humor.  Laughs aside, the first two articles, “White People Shall Consider Reparations” and “History Books Shall Be Aligned,” unleash a savage broadside on White privilege and on the history of the United States of America... which is essentially a White (washed) story.

It would be too easy to say that Surrender, White People! is the perfect book for our troubled times.  The truth is that the time is always right for what D.L. Hughley has to say about racism in America.  Surrender, White People! is an opportunity to laugh, to learn, and to move us a little closer to real, substantial change.

But considering what has happened in the year 2020, we will need more books from D.L. Hughley and Doug Moe... and probably some amendments to this peace treaty.

I READS YOU RECOMMENDS:  Fans of D.L. Hughley cannot and must not miss Surrender, White People!: Our Unconditional Terms for Peace.

10 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


https://twitter.com/WmMorrowBooks
https://www.facebook.com/WilliamMorrowBooks
https://twitter.com/HarperCollins
https://www.harpercollins.com/


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.


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Sunday, July 14, 2019

Book Review: THE CONFESSIONS OF FRANNIE LANGTON

THE CONFESSIONS OF FANNIE LANGTON
HARPER (HarperCollins Publishers) – @HarperCollins @HarperBooks

[This review was originally posted on Patreon.]

AUTHOR: Sara Collins
ISBN: 978-0-06-285189-5; hardcover (May 21, 2019)
384pp, B&W, $26.99 U.S.

The Confessions of Frannie Langton is the debut novel of author Sara Collins.  This 2019 historical novel and murder mystery, which is set largely in the 1820s and in Georgian London, focuses on a servant and former slave accused of murdering her employer and his wife.

The Confessions of Frannie Langton opens on April 5, 1826 in London, at “The Old Bailey” (the common name for the Central Criminal Court of England and Wales).  Frances “Frannie” Langton, a mulatto Black woman, is accused of double murder.  London is abuzz with this scandalous case in which renowned scientist, George Benham, and his eccentric French wife, Marguerite “Meg” Benham (the former Marguerite Delacroix), were murdered in their home, Levenhall.  Huge crowds pack the courtroom to hear the tawdry details of two White people brutally, repeated, and savagely stabbed by this mysterious Negress to whom the late couple gave a home and a job after she was turned out by her previous master.

But there is always more... more... more to such stories.  For that, we travel back in time to the period of 1812 to 1825.  Frannie Langton was once a slave on a plantation in Jamaica, called “Paradise.”  Her owner, John Langton, had scientific ambitions, and he was determined to prove his theories about race, particularly about Black people and about Black Africans.

Frannie may claim that she cannot recall what happened that fateful evening of the Benhams' deaths – even if remembering could save her life.  However, she does have a tale to tell, and it begins with her childhood on that Jamaican sugar plantation.  It continues to her apprenticeship under John Langton, cruel master turned debauched scientist, stretching all bounds of ethics.  Then, the story moves into the Benhams’ London home, where Frannie finds a wannabe scientist who may be as bad as Langton and where she also finds a passionate and forbidden relationship.  The newspapers say Frannie is a seductress, a witch, a master manipulator, and a whore, when she may simply be a Black woman trying to make her own way in a racist world.

When HarperCollins offered a galley review copy of The Confessions of Frannie Langton, I jumped at asking for a copy, especially after reading the cover copy.  However, The Confessions of Frannie Langton turned out to be one of the most difficult reads that I have encountered in well over a decade.

The depiction of slavery and of forced servitude in The Confessions of Frannie Langton is so vivid and horrifying.  It's like combining the screenplays for 12 Years of Slave and Birth of a Nation (2016 version, of course) squeezed into one heartbreaking novel.  What Sara Collins offers in The Confessions of Frannie Langton is certainly a brilliant, searing depiction of race, class, and oppression.  This novel, however, offers even more; it is a historical thriller and literary indictment with ambitions to be as entertaining as any other literary thriller.

Collins offers wisdom and insight into the way both the oppressors and the oppressed are forced to live their lives.  Such perceptiveness is revealed in lines like “... 'cause you got white hopes. I got Negro expectations.” (as said to Frannie by Sal, her friend and fellow sex worker) or “The very woman who'd spit in your porridge in the morning could be fornicating with your husband at night.”  As if she were a venerable, elderly Black woman storyteller, Collins has uncanny insights into the perilous and fraught lives of Black woman who are property or who are technically not property, but are really property for all intents and purposes.

Perhaps, we love people because we view them through a lens of being people who make us feel a certain way.  Frannie becomes attached to or falls in love with people who view her as being property that makes them feel a certain way.  In order to convey that stark and sometimes subtle difference, a writer needs to be a superior storyteller and also needs to have a command of prose.  With her first novel, Sara Collins' mighty storytelling and command of prose take her to the summit of literary heights.  I would be surprised if The Confessions of Frannie Langton did not become a staple of college literature courses within five years.

The Confessions of Frannie Langton is an incredible novel with a kind of terrible power.  This is the power needed to convey the horrors experienced by Africans enslaved in the Western Hemisphere and also by those forced to inherit the status of their enslaved parents, grandparents and ancestors.

10 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Friday, June 28, 2019

Review: BLACK: Widows and Orphans #1

BLACK: WIDOWS & ORPHANS No. 1
BLACKMASK STUDIO – @blackmaskstudio @BLACKsuprppowrs

[This review was originally posted on Patreon.]

STORY/PLOT: Kwanza Osajyefo and Tim Smith 3 – @kwanzer
SCRIPT/DIALOGUE:  Kwanza Osajyefo
PENCILS/INKS: Tim Smith 3 – @TS3
COLORS/SHADES: Derwin Roberson
LETTERS/SFX: Dave Sharpe
EDITOR: Sarah Litt
COVER: Tim Smith 3
32pp, Color, $3.99 U.S. (Diamond-FEB181179 – April 25, 2018)

Rated M/Mature

Black [AF] created by Kwanza Osajyefo and Tim Smith 3

Black – also known as Black [AF] – is a six-issue comic book miniseries created by Kwanza Osajyefo and Tim Smith 3.  It was first introduced to the public as a Kickstarter crowdfunding project seeking to raise $29,999, but ultimately raised almost $100,000.  Black is set in a world where only Black people have super-powers (called “Quarks”), and this world is suddenly and shockingly forced on Kareem Jenkins, who discovers that he is “empowered.”

Now, a second miniseries recently arrived and is entitled Black: Widows and Orphans.  It written by Kwanza Osajyefo and Tim Smith 3; drawn by Smith 3; colored by Derwin Roberson; and lettered by Dave Sharpe.

Black: Widows and Orphans #1 opens as the first empowered U.S. senator is nearly assassinated by a ninja!  However, the empowered of the “Project” are there to stop it, but a revelation of what the assassin is delivers a shocker.  He is connected to the past of one of the Project's empowered, Anansi, who, as a child, was trained as a Ninja.

Anansi is on a mission to return to her former clan, “the Amime” and to learn what has become of what was once her family.  However, the Project's leader, Juncture, insists that Anansi take with her someone who can watch her back.  Now, Hoodrat finds herself following her mentor, Anansi, into the world of the ninja.

The original Black miniseries was published in black and white with toning, but Black: Widows and Orphans is in glorious full-color. Colorist Derwin Roberson delivers such vivid hues that I thought I was having a trippy experience while reading this first issue.  Roberson's color art here really goes a long way in not only making this miniseries distinct form the original, but also in selling the setting of this series as a world beyond the normal – beyond even the world of the Quarks and empowered.

I was so used to the original miniseries' artist, Jamal Igle, that I was initially somewhat put off by Tim Smith 3's quirky, anime-style art.  It was not long before I was seriously loving Smith's compositions and the kinetic feel of his graphical storytelling.  I also like that Smith 3 makes Black: Widows and Orphans distinct from the first series as a graphics package.

As usual, I enjoy the scriptwriting of Kwanza Osajyefo, who always makes his work something different from standard superhero comic book fare.  It is as if he is stubbornly eccentric and offbeat, but that is why I think that will help Black [AF] survive as a strong, superhero comic book of color.  Kwanza's words will make this story the kind of Black sci-fi that can weather the slings and arrows of outrageous comic book shop owners who don't want “blacks, homos, and freaking females” on the pecker-wood of their KKK store shelves.  And Dave Sharpe's sharp lettering assures that we can read every chocolate thunder word.

9 out of 10

[This comic book includes a preview of the comic book, The Wilds, by Vita Ayala and Emily Pearson from Black Mask Studio.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Thursday, July 12, 2018

Review: MARCH Book Three

MARCH: BOOK THREE
TOP SHELF PRODUCTIONS – @topshelfcomix

[This review was originally posted on Patreon.]

WRITERS: John Lewis and Andrew Aydin
ARTIST: Nate Powell
EDITOR: Leigh Walton
ISBN: 978-1-60309-402-3; paperback with French flaps – 6.7" x 9.7" (August 2, 2016)
256pp, B&W, $19.99 U.S.

Congressman John Lewis is a member of the United States House of Representatives as Georgia’s Fifth Congressional District Representative (GA-5, Democrat).  During the 1960s, Lewis was also one of the “Big Six” leaders of the American Civil Rights movement (with the others being Rev. Martin Luther King, Jr., James Farmer, A. Philip Randolph, Roy Wilkins, and Whitney Young).  Before such fame and accomplishments, he was born John Robert Lewis in February 1940 to sharecropper parents, Willie Mae (Carter) and Eddie Lewis.

In 2013, Top Shelf Productions began publishing a series of three graphic novels, entitled March, that would chronicle Congressman Lewis' time as a Civil Rights activist.  March begins with his childhood and moves onto his time as a college student who is a participant in and organizer of dangerous protests.  The story ultimately shits into Lewis' years as a leader in the Civil Rights movement and as someone who shapes and influences change, politically and socially.  March is written by Congressman Lewis and Andrew Aydin, one of Lewis' top advisers, and is drawn and lettered by Nate Powell, an award-winning book illustrator and comic book creator.

March: Book Three (August 2016), like March Book One and March Book Two, uses the inauguration of President Barack Obama (January 20, 2009) as a kind of framing sequence from which a 68-year-old Lewis looks back on the events of the past.  Book Three opens on September 15, 1963 and depicts the terrorist bombing of the Sixteenth Street Baptist Church in Birmingham, Alabama.

By the fall of 1963, the Civil Rights movement has found its way into the consciousness of the American people.  As the chairman of the Student Nonviolent Coordinating Committee (SNCC), John Lewis is one of the people that have made this happen.  SNCC continues to force the nation to confront its own blatant injustice, but as the movement grows more successful, its enemies grow bolder and more dangerous.  The supporters of segregation and of Jim Crow use everything from courtroom tactics via friendly judges to intimidation via violence.  Even more worrying, racists like the Ku Klux Klan and segregationist become more violent and seem to deal out death with impunity.

However, the Civil Rights movement, with Dr. Martin Luther King as its leader and most famous face, decides that in order for black Americans to be truly free and equal, they must be able to vote as freely as any white American.  It is time to end the voter suppression that silences so many Americans.  The cry becomes “One Man, One Vote!”  Lewis and an army of young activists launch their nonviolent revolution with innovative campaigns such the “Freedom Vote” and “Mississippi Freedom Summer,” and with an all-out battle for the soul of the Democratic Party waged live on national television.

There are new struggles, new allies, new opponents, and an unpredictable new president (Lyndon B. Johnson – the 36th) who might be both an ally and an opponent at the same time.  Even SNCC begins to fracture.  For 25-year-old John Lewis, however, there is no turning back as he and his fellow activists risk everything on a historic march that will begin in the town of Selma, Alabama.

I never doubted that March Book Two could be as powerful as March Book One, but then, I found that Book Two surpasses the first book in terms of intensity.  So, would March Book Three be the typical trilogy fail – the week final entry in a storytelling triplet?  Never fear, dear readers; there is no failure here.  Book One depicts the awakening or the full rising of Civil Rights tide.  Book Two took the readers into the trenches and to the front lines of a non-violent war in which one side uses peace and the other employs senseless, ceaseless, and wanton acts of violence.

March Book Three depicts many infamous acts of violence against Civil Rights activists.  The Sixteenth Street Baptist Church bombing; the kidnapping and murder of three Civil Rights workers (Mickey Schwerner, Andrew Goodman, and James Chaney), and “Bloody Sunday” are some of the most infamous acts of violence, murder, and mayhem that occur against the movement from the Fall 1963 to Spring 1965.

However, Book Three gets into the details and process of forcing change through politics and political action.  The emphasis is the movement's focus on the federal government, particularly on the Presidency of the United States and the U.S. Department of Justice.  The narrative of this book focuses more on political wrangling, with violence often as backdrop, and there is a sense that something is coming to an end.  Gaining the right to vote for Black people nationwide feels like the end of one story, the close of an iteration of the Civil Rights movement.

Whatever comes next for the movement will be different, but for now, there can be some joy in what is gained by the end of March Book Three.  That is the best thing about March Book Three; Lewis, Aydin, and Powell convey the sense of hope, and no matter what happens next, the victory of the 1965 Selma to Montgomery, Alabama voting rights marches offers hope no matter how good or bad things get from that point going forward.

On the last page of March: Book Three, Congress John Lewis and Andrew Aydin give us a depiction of the two of them talking about that “comic book idea.”  Lewis says “We'll have to find a great artist – someone who can make the words sing.”  Lewis and Aydin's words have the depth and detail of prose and convey the lyrical flow of poetry.

Well, they did find the great artist who could make their words sing in the person of Nate Powell.  Comic books are a storytelling medium that uses graphics to convey, communicate, and tell a story, and Powell makes the words sing “Hallelujah!”  That boy can sang!  In the end, Powell, with pencil, pen, and brush, creates a comic book that lifts him, as well as the readers, to the heights.  None of the greats – not Crumb, not Kirby, not Moebius, not Eisner, not Los Bros., not Wood, not Kurtzman; none of them are above him.  Now, he is their equal.

Nate Powell has marched on up to the mountaintop, and he sits on high with the masters, old and new.  John Lewis, Andrew Aydin, Dr. Martin Luther King, and the named and unnamed of the American Civil Rights movement deserve nothing less in the comic book artist who would tell their story.

10 out of 10

For more information about the March trilogy, visit here or at http://www.topshelfcomix.com/march

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Friday, June 1, 2018

Review: MARCH: Book Two

MARCH: BOOK TWO
TOP SHELF PRODUCTIONS – @topshelfcomix

[This review was originally posted on Patreon.]

WRITERS: John Lewis and Andrew Aydin
ARTIST: Nate Powell
EDITOR: Leigh Walton
ISBN: 978-1-60309-400-9; paperback with French flaps – 6.5" x 9.5" (January 20, 2015)
192pp, B&W, $19.95 U.S., $25.95 CAN

Congressman John Lewis is Georgia’s Fifth Congressional District Representative (GA-5, Democrat).  Lewis was also one of the “Big Six” leaders of the American Civil Rights Movement (with the others being Rev. Martin Luther King, Jr., James Farmer, A. Philip Randolph, Roy Wilkins, and Whitney Young).  Before such fame and accomplishments, he was born John Robert Lewis in February 1940 to sharecropper parents, Willie Mae (Carter) and Eddie Lewis.

In 2013, Top Shelf Productions began publishing a series of three graphic novels, entitled March, that would chronicle the life of Congressman Lewis, from his childhood to his college-age youth as a participant in and organizer of dangerous protests.  The story ultimately moves into Lewis' years as a leader in the Civil Rights movement and as someone who shaped and influenced change, politically and socially.  March is written by Congressman Lewis and Andrew Aydin, one of Lewis' top advisers, and is drawn and lettered by Nate Powell, an award-winning illustrator and comic book creator.

March Book Two (January 2015), like March Book One, uses the inauguration of President Barack Obama (January 20, 2009) as a framing sequence.  The story then moves back to November 1960.  After the success of the Nashville sit-in campaign to desegregate lunch counters, the Nashville Student Movement is ready to make its next moves.  The students want to desegregate fast food restaurants and cafeterias and movie theaters so that that black people can receive the same service that white people do.  John Lewis is more committed than ever to changing the world through nonviolence — but he is about to become involved in his most perilous venture yet.

In 1961, the Congress of Racial Equality (CORE) plans to test a recent favorable Supreme Court ruling, Boynton v. Virginia, which outlawed racial segregation on buses and in bus terminals.  CORE called this program Freedom Ride 1961, and the young activists involved are dubbed “Freedom Riders.”  However, these “Freedom Riders” plan to go into the heart of the deep south in order to segregate bus terminals in cities like Birmingham, Alabama and New Orleans, Louisiana, and they will be tested as never before.  They must face beatings from vicious white devils... (I mean) civilians, police brutality, imprisonment, arson, and even murder.  With their lives on the line, these young activists also face internal conflicts that threatens to tear them apart.

I never doubted that March Book Two could be as powerful as March Book One, but now, I think that Book Two passes the first book in terms of intensity.  Book Two also chronicles how John Lewis and his fellow activists attracted the notice people like Martin Luther King, Jr. and Attorney General Robert F. Kennedy, who would become powerful allies.  We also witness Lewis get elected chairman of the Student Nonviolent Coordinating Committee (SNCC), thrusting the 23-year-old into the national spotlight.  We see Lewis become one of the “Big Six” leaders of the civil rights movement and a central figure in the landmark 1963 March on Washington for Jobs and Freedom.  March Book Two also depicts the speech that Lewis gave at that historic march, and, at the back of this graphic novel, the original version of Lewis' speech is reprinted.  The section of the story that deals with the “negotiations” involved in getting Lewis to make changes to his speech is riveting.

However, the spine of March Book Two is the harrowing depiction and recounting of “Freedom Ride 1961.”  Lewis and Andrew Aydin's script, narration, and dialogue are some of the most powerful that I have ever read in a comic book.  As I read those glorious pages, I felt as if my blood was freezing, at the same time that my heart was a'pounding.  If Lewis and Aydin's text about the Freedom Riders was reprinted without the art, it would still be compelling and effective.

I could say the same thing about the art.  If Nate Powell's illustrations and graphics for March Book Two were reprinted without the text and word balloons in an art book, they would still be all-powerful and potent storytelling.  Even as pantomime comics, Powell's work here would force us to understand every bit of Lewis' story as told by the Congressman and Mr. Aydin.  Powell is easily one of the very best comic book illustrators of the still young twenty-first century.  He is in my Top 10.

Fortunately for us, Lewis, Aydin, and Powell work as one almighty comic book creative team.  On that ride back through time, they transport us onto the buses for the most perilous bus rides in American history.  Because of the felicity with which they tell this story, Lewis, Aydin, and Powell honor not only Lewis' story, but they also honor the men and women, black and white, who put everything on the line for freedom and equality.  March Book Two was and still is 2015's best original graphic novel and best work of comics.

10 out of 10

For more information about the March trilogy, visit here or at http://www.topshelfcomix.com/march

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.


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Wednesday, May 30, 2018

Book Review: BARRACOON

BARRACOON: THE STORY OF THE LAST “BLACK CARGO”
HARPER/Amistad – @HarperCollins @AmistadBooks

[This review was originally posted on Patreon.]

AUTHOR: Zora Neale Hurston
EDITOR: Deborah G. Plant
ISBN: 978-0-06-285508-4; hardcover – 5 1/2” x 8 1/4” (May 8, 2018)
208pp, B&W, $24.99 U.S.

Zora Neale Hurston (1891-1960) was an American novelist, short story writer, essayist and playwright, who may be best known for her 1937 novel, Their Eyes Were Watching God, one of her four novels.  Hurston was and still is noted for her contributions to African-American literature, for her portrayal of racial struggles in the American South, and for her research on Haitian voodoo.

Hurston was also an anthropologist and folklorist and authored two books of folklore, Mules and Men (1935) and Tell My Horse (1938), and her autobiography, Dust Tracks on the Road (1942).  There was one work by Hurston that mixes anthropology, folklore, and biography.  It is the story of one of the last-known survivors of the Atlantic slave trade, a story Hurston told in the vernacular in which that survivor spoke.

It was unpublished... until this week (May 8th, 2018).  Now, in a hardcover from Amistad Books (a HarperCollins imprint), comes the book entitled Barracoon: The Story of the Last “Black Cargo.”  This is the story of a man who was help captive aboard the last slave ship, the Clotilda, to come from Africa and deliver African captives into slavery in America.

In 1927, Zora Neale Hurston went to Plateau, an African-eccentric community just outside Mobile, Alabama, to interview an 86-year-old African man named Cudjo Lewis.  Lewis' birth name was Oluala Kossola, and he was one of millions of men, women, and children who were transported from Africa to America as slaves.  By 1927, however, Cudjo (born sometime around 1841) was the only person still alive who could tell the complete story of being captured, transported across the Atlantic (the “Middle Passage”), and forced into slavery.

Hurston recorded Cudjo’s firsthand account of the raid on his African hometown (Bantè) by the Fon of Dahomey, who were among the African people who resisted the British-led effort to end the trans-Atlantic slave trade.  [Up to the beginning of the Civil War, some Americans still sailed to Africa to get slaves that they smuggled into the United States.]  In this raid, Cudjo was captured and transported to Ouidah, a town along the West African coast, where he was held prisoner in the “barracoons.”  A “barracoon” was a hut or structure where captors detained Africans who were to be sold and exported to America or Europe as slaves.  In 1859, Cudjo would leave Africa for America, where he would spend five-and-half years in bondage as a slave in Alabama until he was freed in 1865.

In 1931, Hurston returned to Plateau, which had been founded by Cudjo and the other former slaves that had been transported to America in the Clotilda.  Hurston spent more than three months with Cudjo, talking in depth about the details of his life.

During this time, Hurston, the young writer, and Cudjo, the elderly former enslaved man, talked about Cudjo’s past.  He recounted the memories of his childhood and young adulthood in Africa and then,  the horrors of the raid in which he was captured.  He narrates the story of his time being held in a barracoon and his eventual selection by American slavers.  Cudjo recalls the harrowing experience of the “Middle Passage,” packed with more than 100 other souls aboard the Clotilda.   He finally reveals the years he spent in slavery and his troubled life after helping to found an Alabama town for Africans like himself.

Based on those interviews, Hurston tells the story mainly from Cudjo's point of view, transcribing Cudjo’s unique vernacular diction.  Although she wrote the text from her perspective as she heard it, Hurston spelled the words as she heard Cudjo say them, using the former slave's rhythm, expressions, and phrases.  Rejected by publishers in the 1930s, Barracoon: The Story of the Last “Black Cargo” sees the light of day thanks to the bold vision of Amistad Books and HarperCollins.

Amistad Books is proving to be a year-round “Black History Month” celebration, thanks to publications such as the recent, brilliant non-fiction tome, Black Fortunes: The Story of the First Six African Americans Who Escaped Slavery and Became Millionaires, by Shomari Wills.  It is best not to underestimate the importance of Barracoon: The Story of the Last “Black Cargo.”  In the literary world, there are people (like Alice Walker) who worked to restore Zora Neale Hurston, who died in obscurity (more or less), to a place of honor in American literature.  Deborah G. Plant is among those people, and Barracoon: The Story of the Last “Black Cargo” is important to the ongoing restoration of Hurston.  It is also a fantastic book and a riveting read.

Hurston's text, which includes the body of Cudjo Lewis' story, an introduction, and appendix, makes up 112 pages of this book.  By the time I finished reading, I was not sure what part of the story impressed me most, but by recording Cudjo's recollections of his life and trials in Africa, Hurston informs today's readers of her place as an anthropologist.  The tale of the raid on Cudjo's village and the forced march from his captors' village to the barracoons is harrowing.  I think that this part of the narrative will be imprinted on my memory for a long time, but I found every part of this book fascinating.

Hurston's decision to keep the story in Cudjo's vernacular was the right choice, and potential publishers to whom she hoped to sell this book apparently did not agree with this.  Cudjo's story is so powerful and unforgettable precisely because of the manner and language in which Hurston committed it to text.  I think Hurston's decisions regarding this text assure her place as a hugely important twentieth-century contributor to American history and culture.

Hurston's appendix contains some folktales Cudjo related to her, the recording of which testifies to Hurston's place as a folklorist.  Deborah Plant's introduction is a must-read for readers before they enter Hurston's text.  The glossary and notes will help readers grasp many of the terms, phrases, names, and words included in Hurston's text.  At 200+ pages, Barracoon: The Story of the Last “Black Cargo” is a slim text, but it packs a wallop of a punch both as history and as a document of a particular facet of American slavery.

Readers looking for great tales of “Black History” and for books that reveal an untold corner of American history must have Barracoon: The Story of the Last “Black Cargo.”  And no Zora Neale Hurston library or collection can be without it.

[This book includes an introduction by editor, Deborah G. Plant, and a foreword by Pulitzer Prize-winning author, Alice Walker.]

9 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Tuesday, May 29, 2018

Review: STRANGE FRUIT #4

STRANGE FRUIT No. 4 (OF 4)
BOOM! Studios – @boomstudios

[This review was originally posted on Patreon.]

WRITERS: J.G. Jones and Mark Waid
ARTIST: J.G. Jones
LETTERS: Deron Bennett
COVER: J.G. Jones
24pp, Colors, $3.99 U.S. (November 2016)

Suggested for mature readers

Published by BOOM! Studios, Strange Fruit was a four-issue comic book miniseries released in 2015 and 2016.  It was the creation of two acclaimed comic book creators.  The first is J.G. Jones, the co-creator of Wanted (with Mark Millar) and the cover artist for the Vertigo comic book series, Y: The Last Man.  The second is Mark Waid, a long-time comic book writer and editor.  Waid is known for the creation of the DC Comics miniseries, Kingdom Come (with artist Alex Ross) and for writing two acclaimed runs on Marvel Comics' Daredevil.

In a publicity release, BOOM! Studios described Strange Fruit as “a deeply personal passion project.”  The release also said that the comic book was a “provocative examination of the heroic myth confronting the themes of racism, cultural legacy, and human nature through a literary lens, drawing from Southern folklore and tradition.”

Strange Fruit is set in and around Chatterlee, Mississippi in April 1927.  At this time, the “Great Mississippi Flood of 1927” would occur.   As the story begins, the Mississippi River is rising, threatening to break open the levees and destroy Chatterlee, as it has already done to other “God-fearing” towns.  The race to shore up the levees is also threatening to break open the racial and social divisions of Chatterlee and the surrounding area.  Into this roiling situation, a mysterious Black man falls from the sky.

As Strange Fruit #4 opens, some of the local White people have come to see the mysterious Black man as useful, although the local Black community has already greeted his arrival as a sign of divine intervention.  Nicknamed “Johnson,” by Sonny, the young “agitator,” the stranger begins to really show his super powers, and attempts to use a strange device to save the town and the people from the flood.  However, there are still some racist White people who want to kill Johnson and other Black people even as the rising water threatens their very own lives.

In my review of Strange Fruit #3, I mentioned one of my all-time favorite novels, Stephen King's masterpiece, 'Salem's Lot (1975).  One of the elements of the plot that I thoroughly enjoyed was how the people of Jerusalem's Lot (or 'Salem's Lot, for short) blithely carried on their petty conflicts while darkness slowly enveloped their town.  That is Strange Fruit #3 and #4 in a nutshell.  Even the behemoth threat that is the flooding Mississippi River cannot completely draw people away from their mistrust and racial strife.

This is truth in J.G. Jones and Mark Waid's storytelling.  They convey the brutal strength and ugly power of hate with honesty; even with salvation or death by drowning practically shoved in their faces, some of the White people still have to hate and oppress Black folks.  I have said this before and it bears repeating:  Strange Fruit is not a screed against racism; rather it is an amazingly human tale that is genuine in its portrayal of the nature of man.

J. G. Jones produced some of the most beautiful comic book art for Strange Fruit that I have ever seen.  His depiction of the human face and its myriad expressiveness is a sight to behold.  The grace of the human in clothing and costume shines through even when the characters are being less than graceful.

Strange Fruit was one of 2015's best comic books and is one of the best of 2016.  It never received any Eisner Award (for excellence in comic books) nominations.  Wow!

A+

www.boom-studios.com
#comicsforward

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

----------------------------


Wednesday, March 14, 2018

Review: BLACK #6

BLACK No. 6
BLACKMASK STUDIO

[This review was originally posted on Patreon.]

STORY: Kwanza Osajyefo
DESIGNER: Tim Smith 3
ART: Jamal Igle
INKS: Robin Riggs
TONES: Derwin Roberson
LETTERS: Dave Sharpe
COVER: Khary Randolph
44pp, B&W and some Color, $3.99 U.S. (July 2017)

“Chapter Six”

Black was a comic book miniseries created by Kwanza Osajyefo and Tim Smith 3.  This comic book was first introduced to the public as a Kickstarter project seeking to earn $29,999, but ultimately earned almost $100,000.  Black is set in a world where only Black people have super-powers.

Black was written by Osajyefo; drawn by Jamal Igle (pencils) and Robin Riggs (inks); toned by Derwin Roberson and Sarah Stern; and lettered by Dave SharpeKhary Randolph was the series cover artist.

Black opened with Officer Ellen Waters of the New York Police Department (NYPD) recounting a shocking incident.  She witnessed three young Black teenagers mistakenly identified as three perpetrators of an armed robbery.  All three were subsequently shot to death in a hail of bullets fired by White police officers.  Officer Waters also witnessed one of the three teens, Kareem Jenkins, get up from his injuries as if he were never harmed.  What Waters did not realize was that the truth behind Jenkins miraculous survival was even more mind-blowing.  He had super-powers – called Quarks.

Black #6 opens at “Negromuerte,” the research facility that is also a prison.  Here, Black people with super-powers are imprisoned so that they can be the subjects of experimentation designed to replicate their powers.  Recently imprisoned there, Kareem has discovered that his cellmate is the Black super-powered terrorist, “O,” who is determined to kill Negromeurte's director and lead scientist, Theodore Mann.  Now, it is Mann vs. “O,” with Kareem caught in the middle.

As I wrote in my review of Black #1, I remember the Kickstarter campaign for Black, and I was impressed by what the team behind it presented to the public.  I stated that I was shocked by how successful the campaign was, as it reached its campaign goal in a short time before going on to raise about three times that goal.

That Kickstarter campaign assured the Black would indeed become a full-fledged comic book project.  Since Black #6 was published last year, the series has been optioned for film and a sequel miniseries and an original graphic novel set in that world were announced (with the graphic novel recently being published and reportedly being sold out).

Black #1 was awkward and a bit ungainly, but it was hard to deny the boldness and audacity of its concept.  Black #6 is, of course, more polished.  Jamal Igle's compositions are solid and his graphic storytelling pops off the page.  Robin Riggs' inks on Igle pencil's give the art a solidity and firmness the art seemed to lack in that first issue.  The tones (basically coloring for black and white illustrations) by Derwin Roberson are superb and bring beauty and strength to Igle and Riggs illustrations.  Yes, Dave Sharpe's lettering is... sharp and conveys power to the story.

I think that the thing I most enjoy about Kwanza Osajyefo's storytelling is simply that it exists.  It takes backbone and balls of steel to both create a comic book that says only black people have super-powers, and then to release it to a market that serves an aging white male fan-base.  And this is a base that often bristles when presented with black comic book characters that do not “know their place” in fictional comic book worlds like the Marvel and DC Comics universes.

I like that Osajyefo brings diversity and variety to the way his characters speak.  I like that Osajyefo ultimately lets Kareem Jenkins be a really free black man.  I like that there will be more from the world of Black.  It is too Black and too proud to be a one-time thing.

9 out of 10

[This comic book includes a preview of the comic book, Calexit, from Black Mask Studio.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Saturday, November 11, 2017

Book Review: DEFINING MOMENTS IN BLACK HISTORY: Reading Between the Lies

DEFINING MOMENTS IN BLACK HISTORY: READING BETWEEN THE LIES
HARPERCOLLINS/Amistad – @HarperCollins @AmistadBooks

[This review was originally posted on Patreon.]

AUTHOR: Dick Gregory – @IAmDickGregory
ISBN: 978-0-06-244869-9; hardcover (September 19, 2017)
256pp, B&W, $24.99 U.S.

Dick Gregory was an African-American comedian, civil rights activist, and entrepreneur.  Born Richard Claxton Gregory on October 12, 1932 in St. Louis Missouri, Gregory was also a writer and social critic.  Gregory died on August 19, 2017, a month before the release of what would be his final book, Defining Moments in Black History: Reading Between the Lies.

Gregory was a pioneering stand-up comedian because of his “no-holds-barred” comic sets in which he addressed and mocked bigotry and racism.  Although he initially performed primarily before black audiences at segregated clubs, Gregory became one of the first black comedians to successfully cross over to white audiences.  He became the first black comedian to both perform on “Tonight with Jack Parr” and to sit on the couch and talk to host Jack Parr.

In Defining Moments in Black History: Reading Between the Lies, Dick Gregory uses his trademark acerbic wit, incisive humor, and infectious paranoia as the basis by which he views key events in the history of Black America.  Defining Moments in Black History is a collection of five thoughtful, provocative essays, and an insightful introduction and epilogue.  Gregory discusses everything about Black people in America, from the diaspora and slavery to civil rights and Black Lives Matter, to Black historical figures and modern Black celebrities.

I first knew Dick Gregory as a comedian, and soon came to know that he discussed everything from entrepreneurship to the diet and eating habits of Black folks.  When I discovered that Gregory was involved in the Civil Rights Movement and that he was also a social critic, I found that I had a hard time imagining him as merely a comedian.  I was always interested in what Gregory had to say, and what he had to say was always provocative and almost always insightful.  Because he was a friend of and worked with civil rights luminaries like Dr. Martin Luther King, Jr. and Medgar Evers, I saw him as a person I needed to hear.

In 1964, Gregory became involved in the search for three missing civil rights workers:  James Chaney, Andrew Goodman, and Michael Schwerner, who vanished in Philadelphia, Mississippi.  Gregory played a large role in forcing the FBI to find the three young men's bodies.  After meeting with a local sheriff, Gregory became convinced that he (Neshoba County Sheriff Lawrence A. Rainey) was complicit in the men's disappearance and with their deaths.  So obviously, Gregory wasn't just any black guy on stage telling jokes.

Defining Moments in Black History reflects that.  Gregory discusses the connection between money and slavery and the importance of Nat Turner's revolt.  He offers numerous examples of how solidarity was important to the progress of Black people in America.  To Gregory, the “Atlanta Compromise;” the founding of groups like the NAACP and the Urban League; and the actions of people like Rosa Parks, the Pullman Porters, the Little Rock Nine, and Shirley Chisholm (to name a few) brought Black people together to make change for Black people.

Gregory is also a believer in conspiracies, so readers may be uncomfortable with his ideas about “the truth” behind the death of Michael Jackson and public fall from grace of Bill Cosby and Tiger Woods.  I found the conspiracy essays a little embarrassing, but I am always willing to at least listen to a man like Gregory when he has a conspiracy he wants to discuss.  However, that should not keep readers from understanding the central arguments behind Defining Moments in Black History.  Gregory's argument is that “White supremacy” is the game being played on Black people in America.  The ones doing the playing are wealthy and powerful white people, according to Gregory, and he argues that even poor white people don't understand White Supremacy.

Gregory says that in order to fight the forces aligned against them, Black people must believe in themselves, in their beauty, in their strength, in their intelligence, and in their ability to learn and grow intellectually.  In this book, Gregory makes clear that he thinks Black people often do not think highly of themselves, accept stereotypes, and are even self-destructive or at least do things that are mostly bad for them.

I agree.  I see Defining Moments in Black History: Reading Between the Lies as a final gift from a man who straddled the most important moments of Black history for the last six decades.  It is a book of history, a book celebrating Black perseverance, and a book that both encourages and warns.  The fact that we have President Donald Trump is a sign that we have not heeded such warnings.  Maybe Defining Moments in Black History: Reading Between the Lies has to scream at us.

A
9 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Wednesday, July 19, 2017

Review: RED RANGE: A Wild Western Adventure

RED RANGE: A WILD WESTERN ADVENTURE
IDW PUBLISHING/It's Alive – @IDWPublishing

[This review was originally posted on Patreon.]

STORY: Joe R. Lansdale
ARTIST:  Sam Glanzman
COLORS: Jorge Blanco and Jok
LETTERS: Douglas Potter
ISBN: 978-1-63140-994-3; hardcover (June 20, 2017)
112pp, Color, $19.99 U.S., $25.99 CAN

This review is based on a copy-for-review of Red Range provided by IDW Publishing, which the author of this review did not request.

Red Range: A Wild Western Adventure is a Western graphic novel written by Joe R. Lansdale and drawn by Sam Glanzman.  It was originally published in 1999 by Mojo Press and apparently was ignored upon its first release.  Lansdale is a prolific novelist and short story writer who has also written numerous comic book stories.  A U.S. Navy veteran of World War II, Glanzman has been writing and drawing comic books since the medium's “Golden Age,” beginning with a story published in 1941.  Glanzman is probably best known for his Western and war comics.

It's Alive, an imprint of IDW, is bringing Red Range: A Wild Western Adventure back into print in a new full-color, hardcover edition with colors by Jorge Blanco and Jok and letters by Douglas Potter.  This new edition also includes essays and text pieces by Richard Klaw (Red Range's original publisher) and comics creator and publisher, Stephen R. Bissette.  This volume also includes a black and white comics short story, “I Could Eat a Horse,” written and drawn by Glanzman and first published in Wild West Show (Mojo Press, 1996).

Red Range opens somewhere in Texas (east Texas?) sometime in the 19th century (after the Civil War).  The Ku Klux Klan is in the middle of torturing and murdering a husband and wife, when a shot rings out that kills two of the Klansmen.  After more than half their number has been shot dead in the most brutal ways, the rest of the Klansmen flee in horror.  Who or what scared the bejesus out of them?

It's that notorious, Klan-killing Black vigilante, the Red Mask.  Once he was Caleb Range, a Black man whose wife and son were killed by evil White men before his very eyes.  Now, he is the monster in a Klansman nightmare.  Caleb takes Turon, the son of the Black couple murdered and tortured by the Klan, as his new partner.  Meanwhile, Batiste, Klan leader and survivor of the Red Mask's most recent attack, gathers a crew of morons and murderers into an ersatz posse to hunt and kill the Red Mask and Turon.  However, the final showdown between the Red Mask and Batiste will take them into the wild and wonderful world of the “Weird Western.”

The essayists of the Red Range: A Wild Western Adventure graphic novel apparently hope for some vindication for the apparently initially-ignored graphic novel with its new release.  I don't remember Red Range at all, and I assumed I was both an astute reader and follower of independent comic books at the time.  I don't even remember Red Range's original publisher, Mojo Press, although the name does seem oddly familiar.

The truth is that in 1999, Red Range was way, way ahead of its time.  I had a professor of Shakespeare at LSU who insisted that no one was “ahead of his time.”  Every creative person was “of his time.”  That may be true, but a person of his time can create a work that is ahead of its time, and that is exactly what Joe R. Lansdale and Sam Glanzman did.

My recollection of the 1990s was that there was deep resistance to comic books featuring African-American characters from certain segments of the comics media, comic book retailers, comic book publishers, and comic book readers.  Here comes Red Range with its unapologetic Black male hero who shot White men down as if they were rabid dogs.  The world of American comic books was not ready for what was essentially the marriage of “The Lone Ranger” and Django Unchained, 13 years before Django shot two white men and whooped one's ass before he shot him, early in Quentin Tarantino's Oscar-winning film.

Lansdale gleefully weaves a tale of ultra-violence and unfettered racial hate, and sprinkles the dialogue with racial epithets aplenty.  Glanzman, a master of graphical storytelling, turns Lansdale story into comics storytelling that is filled with gore, but skillfully picks up the sly and shade-throwing humor in Lansdale's writing.

Now, Red Range is ready for the world of American comic books, or is it the other way around?  Social media has given both African-American comic book creators and readers a voice to beat back those trying to hold them back.  The-economy-is-great-and-we're-all-fine, late 20th century America of President Bill Clinton is long gone.  Now, we have the post-President Barack Obama America in which the first Black president of the United States has been replaced by a President who shamelessly courts racists, religious bigots, White separatists, bullies, misogynists, etc.  Donald Trump's appointment as President by the Electoral College woke the naive up... finally.  We are not in a post-racial America.

There are more people in America who are like Batiste, the villain in Red Range, Batiste, than many of us would like to admit.  So it has to be okay for two White men to create fiction that depicts pure-dee, American racism and the fight against it in the most blunt storytelling language.

Lansdale and Glanzman were never over-the-top and mean-spirited, even back in 1999.  Readers simply did not recognize the genius and the A-game of Joe R. Lansdale and Sam Glanzman, who both, at best, probably only had a cult following at the time.  But like the ghosts of Mississippi, Red Range: A Wild Western Adventure is back for justice.  Please, read this graphic novel.  Also, when you consider the high quality and high production values of IDW Publishing's hardcover graphic novels and archival collections, Red Range is a steal... even shop-lifting at the price of $19.95.

A+

This book includes the following text pieces with illustrations:

“When Old is New and New is Old” – Introduction by Richard Klaw
“Beneath the Valley of the Klan Busters” - Afterword by Stephen R. Bissette
“A Brief History of Cowboys & Dinosaurs: Pop Culture Cowpokes & Carnosaurs” essay by Stephen R. Bissette

This book also includes the Sam Glanzman comics short story, “I Could Eat a Horse.”

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

--------------------



Thursday, February 9, 2017

Review: STRANGE FRUIT #3

STRANGE FRUIT No. 3 (OF 4)
BOOM! Studios – @boomstudios

[This review was originally posted on Patreon.]

WRITERS: J.G. Jones and Mark Waid
ARTIST: J.G. Jones
LETTERS: Deron Bennett
COVER: J.G. Jones
24pp, Colors, $3.99 U.S. (April 2016)

Suggested for mature readers

Published by BOOM! Studios, Strange Fruit is a four-issue comic book miniseries from comics creators, Mark Waid (Daredevil; Kingdom Come) and J.G. Jones (Wanted; Y: The Last Man).  In a publicity released, BOOM! Studios described this comic book as “a deeply personal passion project” and as a “provocative examination of the heroic myth confronting the themes of racism, cultural legacy, and human nature through a literary lens, drawing from Southern folklore and tradition.”

Strange Fruit is set in and around Chatterlee, Mississippi in April 1927.  This is the time that would become known as the “Great Mississippi Flood of 1927.”  As the story begins, the Mississippi River is rising, threatening to break open the levees and destroy Chatterlee, as it has already done to other “God-fearing” towns.  The race to shore up the levees is also threatening to break open the racial and social divisions of Chatterlee and the surrounding area.  Into this roiling situation, a mysterious Black man falls from the sky.

As Strange Fruit #3 opens, the local Black community is beginning to see the arrival of the mysterious (and tall and muscular) Black man as a sign of divine intervention.  However, Sonny, the young “agitator” who gave the stranger the nickname, “Johnson,” has decided that he has had enough of White people:  kind, benign, and otherwise.  He decides that it is time to leave Chatterlee, but on the way out of town, he makes a shocking discovery.  Meanwhile, the impending disaster of the swelling Mississippi has not dampened the local Klan's desire to kill Black people and to destroy “Johnson.”

One of my all-time favorite novels is Stephen King's masterpiece, 'Salem's Lot (1975).  One of the elements of the plot that I thoroughly enjoyed is how the people of Jerusalem's Lot (or 'Salem's Lot, for short) blithely carry on their petty conflicts while darkness slowly envelopes their town.  That is Strange Fruit #3 in a nutshell.  Even the behemoth threat that is the flooding Mississippi River cannot completely draw people away from their mistrust and racial strife.

On the part of J.G. Jones and Mark Waid, this is truth in storytelling.  They convey the brutal strength and ugly power of hate with honesty.  Strange Fruit is not a screed against racism; rather it is an amazingly human tale that is genuine in its portrayal of the nature of man.

If that is not enough for you, Jones is still producing some of the most beautiful comic book art that I have ever seen, and until I see otherwise, I am calling his work on Strange Fruit the best of last year and also of this year.  His depiction of the human face and its myriad expressiveness is a sight to behold.  The grace of the human in clothing and costume shines through even when the characters are being less than graceful.  Wow.

It has been almost half a year since issue #2 came out, and Strange Fruit is worth the wait.  It is only a shame that here is one issue left.

A+

www.boom-studios.com
#comicsforward

Reviewed by Leroy Douresseaux


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

---------------------

Wednesday, December 21, 2016

Review: TRUTH: Red, White & Black #2

TRUTH RED, WHITE & BLACK No. 2
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Robert Morales
ARTIST: Kyle Baker
LETTERS:  JG & Comicraft’s Wes
EDITOR: Axel  Alonso
EiC: Joe Quesada
32pp, Color, $3.50 U.S. (February 2003)

Rated “PG”

Part Two: The Future

I recently read two books that greatly affected me.  The first is a non-fiction book, Forgotten: The Untold Story of D-Day's Black Heroes, at Home and at War, by author Linda Hervieux.  It details the experiences of African-Americans and especially Black soldiers before, during, and after World War II.

The second book is Lovecraft Country from author Matt Ruff.  A work of historical fiction and science fiction and fantasy, Lovecraft Country is set in the early 1950s and follows two African-American families and their friends.  They are caught in the middle of a struggle for power by white men who want to use these Black people for themselves and against their rivals.

These two books have had me thinking a lot about Jim Crow America and about the lingering effects of not only the enslavement of Africans and their descendants in the United States, but also of segregation.  In a way segregation may have been worse than slavery.  It codified Black people a second class of American citizen; as a permanent social, cultural, and financial underclass; and worst of all, as a group of people who must be kept separate.

With this in mind, I decided to return to Truth: Red, White & Black, a 2003, seven-issue, comic book miniseries from Marvel Comics.  I have read the first issue about a decade ago and again two years ago.  Truth: Red, White & Black was written by Robert Morales; drawn and colored by Kyle Baker; and lettered by JG and Wes (of Comicraft).

The purpose of Truth: Red, White & Black was to do some reconstruction of the fictional history of one of Marvel’s signature characters, Captain America.  The Truth’s conceit was that the United States government first tested the “super-soldier” serum that created Captain America on black men.

In Captain America Comics #1 (cover dated: March 1941), we meet Steve Rogers, a young man who volunteered for “army service” but was refused because of his “unfit condition.”  Basically, Rogers was too frail to serve in combat in World War II.  Desperate to serve his country, Rogers agreed to be a lab rat for Professor Reinstein.  The professor administered the “super soldier” formula to Rogers.  The “strange seething liquid” worked, transforming Rogers into a strapping young buck and a supernaturally fit specimen of red-blooded American male, a white male, that is.  Rogers eventually donned a flag-based costume and became Captain America.

Truth writer Robert Morales flipped the script on Captain America’s origin, and referenced a real-world situation, the infamous “Tuskegee experiment,” in which Black men were used as lab rats.  “The Tuskegee Study of Untreated Syphilis in the Negro Male” was a real-life clinical study in which poor Black men were denied treatment for syphilis so that the doctors involved could study how the disease spreads through the human body and eventually kills the infected person.

Morales posed an intriguing question on Marvel Comics mythology,  What if the United States government thought that the “Super Soldier” serum was potentially dangerous and perhaps fatal, so before testing it on a White man (Rogers), the government tested it on Black soldiers?  Obviously, it is hard to imagine that even a fictional version of the U.S. government and military, especially in the 1930s and 40s, would risk creating a platoon of super Negroes.  Still, this is just speculative fiction, so why not be imaginative...

Truth: Red, White & Black opens in mid-1940 and introduces a small core of Black soldiers and their family and friends.  There is a young Negro couple, Isaiah and Faith Bradley, on honeymoon.  Maurice Canfield, a Black communist, is the son of well-to-do Negroes in Philadelphia.  He is a labor organizer, and his protests against the U.S.'s entry into World War II ends up getting him forced into the military (with the other choice being a lengthy prison sentence).  Finally, the story moves to June 1941, where we meet Luke Evans, a former Army captain. He has been demoted to sergeant after shoving a white superior who belittled the life of a black soldier killed by White/cracker cops.

Truth: Red, White & Black #2 (“The Future”) opens in May 1942 at Camp Cathcart, Mississippi, a U.S. Army training facility.  Sgt. Evans, who has plenty of experience in the ways of the “White man's army,” roughly and firmly guides the young Black man in his unit through the harsh realities of military service.  Isaiah Bradley shares some good news with his fellow new privates.  Maurice Canfield continues to rub White men the wrong way.

Meanwhile, Washington attaché, Homer Tully, and German psychiatrist and surgeon, Dr. Josef Reinstein, have arrived at Camp Cathcart, in need for an experimental Army project.  Unbeknownst to the Black men of the camp, dark doings are going on in camp headquarters that will cost many men, Black and White, dearly.

The first time I read  Truth: Red, White & Black #1, I enjoyed it, but found it a little underwhelming.  I found Kyle Baker's art to be a little too... informal and cutesy.  In the second reading, I focused more on the story that Morales told, trying to understand both the characters' personalities and the world in which they lived.  When the reader understands the context of these characters' lives, Truth becomes quite powerful.

Kyle Baker's art and graphical storytelling also takes on a stronger quality.  It becomes a blunt instrument, delivering the Jim Crow world of 1940s America because that is the story's mission.  I see it now.  Baker's graphic and artistic style has less to do with traditional comic book art and storytelling and more to do with the confrontational and scathing style of America's great newspaper and magazine political cartoonists.

That's the truth.  After two issues, it seems to me that Morales and Baker are subversively using the ruse of telling a story set in Marvel Comics' fictional universe to chronicle some truths about American history.  This is especially in regards to the deplorable treatment of Black folk in the land of freedom.  That is also the truth.

A+

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Friday, March 25, 2016

Book Review: LOVECRAFT COUNTRY

LOVECRAFT COUNTRY
HARPERCOLLINS – @HarperCollins

AUTHOR: Matt Ruff – @bymattruff
ISBN: 978-0-06-229206-3; hardcover (February 16, 2016)
384pp, B&W, $26.99 U.S.

Lovecraft Country is a 2016 fantasy novel from acclaimed cult novelist, Matt Ruff (Fool on the Hill; The Mirage).  Blending fantasy, historical fiction, Lovecraftian horror, and weird fiction, Lovecraft Country focuses on a Black man, his father, his uncle, and a small circle of Black friends and relatives who take on sorcery and Jim Crow-era secret occult societies.

It's 1954.  22-year-old African-American, Atticus Turner, recently received a letter from his estranged father, Montrose Turner.  The letter was a summons for Attitcus, a Korean War Army veteran, to return home to Chicago.  When he arrives at his father's apartment, Atticus learns that Montrose left several days earlier in the company of a young White man.  His destination – a mysterious, small village named Ardham, deep in the Sabbath Kingdom Woods of Devon County, Massachusetts.

Atticus embarks on a road trip to New England to find Montrose.  He is accompanied by his Uncle George Berry, his father's brother and the publisher of The Safe Negro Travel Guide, a periodical that informs African-American travelers which hotels, restaurants, and business serve “Colored” people.  Letitia Dandridge, a childhood friend of Atticus', insists on tagging along.

Shortly after arriving in Ardham, they find Montrose in chains, held prisoner by Samuel Braithwhite, the leader of a secret cabal known as the Order of the Ancient Dawn.  Braithwhite and his fellow conspirators plan to orchestrate a bizarre ritual that requires Atticus' participation.  To escape, Atticus and company will need the help of Braithwhite's son, Caleb, who has his own need of the Turner clan.

Late last year, I saw the movie, American Ultra, which basically failed at the box office and received mixed reviews from film critics.  I, however, loved it, and I had a blast watching it.  American Ultra reminded me of why I watch so many movies:  no matter how many bad or disappointing movies I watch, I will always find movies that thrill me, spark my imagination, inspire me to make a difference, or just make me happy.

Lovecraft Country does all those things.  I am embarrassed to admit that I seem at a lost to completely and accurately describe how much I enjoyed this book and what it did to me.  There are so many shocking and amazing things about Lovecraft Country.

For one thing, author Matt Ruff is a White man.  His depiction of how African-Americans had to live in segregated, racist, Jim Crow America match what other authors have detailed in non-fiction books written by Black and White Americans, who lived in that America or researched it.  What boggles the mind, however, is that a White man captures the indignities heaped on Black people and the dangers they faced during Jim Crow with such intensity that you might think that he is a Black man.

And let's be honest, Jim Crow may have lost a lot of feathers, but he is still alive.  There are quite a few things that Ruff depicts in this book that I have experienced in our allegedly more enlightened times.  Ruff gets it, so much so that he must be a secret Negro, or he has some kind of telepathic connection with a lot of Black folks – past and present.

The copy on the back of the book jacket calls Lovecraft Country a “...brilliant and wondrous work of the imagination....” and “...a devastating kaleidoscopic portrait of racism—the terrifying specter that continues to haunt us today.”  That's the triple-truth Ruth.  Lovecraft Country blends the modern fantasy inventiveness of writers like J.K. Rowling and Neil Gaiman with the inspired pulp fiction imaginations of H.P. Lovecraft and Robert E. Howard and their contemporaries.

Matt Ruff does these writers one better, however.  His fantastic fantasy invention does not leave out the true darkness and terror, and that is the real malevolence of venomous racial hate, bigotry, and prejudice.  By making his characters Black people living under the yoke of oppression, Ruff dares to imagine a world of magic that is as poisonous as it is wondrous.

Readers are always looking for great books.  Some want the kind of novels that are usually called the “best of the year.”  Well, they should travel to Lovecraft Country.

A+

http://www.bymattruff.com/

Reviewed by Leroy Douresseaux


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.