The first appearance in book form of the serialized fiction of the late black satirist and journalist Schuyler that ran, between 1936 and 1938, in the Pittsburgh Courier under the pen-name of ``Samuel I. Brooks.'' Divided into two parts—Black Internationale: A Story of Black Genius Against the World and Black Empire: An Imaginative Story of a Great New Civilization in Modern Africa—the book is part utopian in vision, part satirical, and part an eloquent indictment of white racism. Written in brief chapters for immediate publication, the whole story of the Black Empire—both parts—is told by one Carl Slater, a promising black journalist who is kidnapped in Harlem by the charismatic but satanic genius Dr. Belsidus. The doctor has been quietly forming a Black Internationale throughout the world that, when the time is ripe, will create dissension in Europe and the US and that, in the ensuing chaos, will reclaim Africa for blacks. As well as masterminding the financial backing, Belsidus has enlisted the best and brightest blacks to create new weapons; health systems; and technology that anticipates such inventions as the fax machine and hydroponic farming. To lighten the story, beautiful Pat Givens, ace aviator and loyal Belsidus follower, falls in love with Slater, and the two marry once the conquest of Africa is achieved. Meanwhile, black brilliance is vindicated; the Black Empire is a success but at some cost. Europe is torn apart by war and disease, all fomented by the Internationale; dissidence within the Empire is punished with death; and euthanasia is regarded as a primary part of medical treatment. Often quite intentionally sensational in style and content, and reflecting all the limits of instant publication, but, still, a remarkable portrait of an era—and a work of considerable imaginative force.
Pub Date: Nov. 8, 1991
ISBN: 1-55553-114-8
Page Count: 332
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1991
BOOK REVIEW
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”
The powerful story of a father’s past and a son’s future.
Atlantic senior writer Coates (The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood, 2008) offers this eloquent memoir as a letter to his teenage son, bearing witness to his own experiences and conveying passionate hopes for his son’s life. “I am wounded,” he writes. “I am marked by old codes, which shielded me in one world and then chained me in the next.” Coates grew up in the tough neighborhood of West Baltimore, beaten into obedience by his father. “I was a capable boy, intelligent and well-liked,” he remembers, “but powerfully afraid.” His life changed dramatically at Howard University, where his father taught and from which several siblings graduated. Howard, he writes, “had always been one of the most critical gathering posts for black people.” He calls it The Mecca, and its faculty and his fellow students expanded his horizons, helping him to understand “that the black world was its own thing, more than a photo-negative of the people who believe they are white.” Coates refers repeatedly to whites’ insistence on their exclusive racial identity; he realizes now “that nothing so essentialist as race” divides people, but rather “the actual injury done by people intent on naming us, intent on believing that what they have named matters more than anything we could ever actually do.” After he married, the author’s world widened again in New York, and later in Paris, where he finally felt extricated from white America’s exploitative, consumerist dreams. He came to understand that “race” does not fully explain “the breach between the world and me,” yet race exerts a crucial force, and young blacks like his son are vulnerable and endangered by “majoritarian bandits.” Coates desperately wants his son to be able to live “apart from fear—even apart from me.”
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”Pub Date: July 8, 2015
ISBN: 978-0-8129-9354-7
Page Count: 176
Publisher: Spiegel & Grau
Review Posted Online: May 5, 2015
Kirkus Reviews Issue: July 1, 2015
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
BOOK TO SCREEN
BOOK TO SCREEN
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