An entertaining coming-of-age memoir from “a proud dashiki daughter, dressed in my own dreams.”
A professor and pop-culture observer finds insight behind the statement, “clothes are never just garments.”
For Ford (African Studies and History/Univ. of Delaware; Liberated Threads: Black Women, Style, and the Global Politics of Soul, 2015, etc.) and her generation of black women who came of age in the 1980s and ’90s, born to parents who embraced the civil rights and Black Is Beautiful movements, certain garments carried cultural import. In a narrative that progresses by discrete, chronological chapters, the author presents a kind of memoir of her life through certain iconic looks that she incorporated over the years, creating through hairstyle, clothes, and accessories a “powerful social skin.” Her topics include the dashiki, baggy jeans, “coochie cutters,” knee-high boots (“according to the churchgoing adults in our young lives, knee-high boots were…for club-hopping women, street walkers, strippers, and drug dealers’ girlfriends”), bamboo earrings, the afro puff, and the hoodie. Each of these, she asserts, was a black innovation that encapsulated “rich, textured stories of our lives.” The dashiki was adopted by black militants in the late 1960s as a symbol of pan-African struggle. In a humorous section, Ford describes the Jheri curl craze of the 1980s, sported by Michael Jackson and others. “Hands down,” she writes, “the Jheri curl is the most maligned hairstyle in black history” as well as “the messiest…smelliest hairstyle ever invented.” As the author delineates, many of the looks were inspired by urban culture and the emergent genre of hip-hop. As Ford moved from high school to college, where she majored in English literature and African studies, she continued to experiment with her look as a reflection of her inner self. Later, “with three degrees behind my name,” she championed the hoodie look as a form of protest and sympathy with the Black Lives Matter movement.
An entertaining coming-of-age memoir from “a proud dashiki daughter, dressed in my own dreams.”Pub Date: June 25, 2019
ISBN: 978-1-250-17353-9
Page Count: 256
Publisher: St. Martin's
Review Posted Online: April 27, 2019
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
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.
Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."
Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.Pub Date: Feb. 1, 1969
ISBN: 0375507892
Page Count: 235
Publisher: Random House
Review Posted Online: May 14, 2012
Kirkus Reviews Issue: Feb. 1, 1969
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