Professional Documents
Culture Documents
m saic
os
assata revisited
dorothea smartt
a honky review
chester himes
rage against the
publishing machine
FALL 2001 / $4.00 nikky finney [ fall 2001 / mosaic ] 1
alicejamesbooks
Beatrice Hawley Award
Country Grammar | 12
Poet Nikky Finney talks about her southern roots and the poetry she writes.
by Tara Betts
A Short Story | 20
Butterfly by B.C. Gayle
Criminal Minded | 22
Before Walter Mosley, Colson Whitehead or Valerie Wilson Wesley there was Ches-
ter Himes. His novels have been signatures of Black crime noir novels.
by Michael Marsh
Assata Revisited | 30
Exiled in Cuba, Assata Shakur’s shadow looms larger with each passing year. We
revisit the only connection we have to this revolutionary--her autobiography.
by Deatra Haime
Smartt Mouth | 36
During a recent visit to America, British poet Dorothea Smartt spoke about her craft
and life.
by Angeli Rasbury
A Publicist Life | 42
Exactly what is a book publicist and why would you need one?
by Marika Flatt
A Fool’s Paradise
Nancy Flowers Wilson
Bloodroot
Aaron Roy Even
Desirada
Maryse Conde
Further to Fly
Black Women and the Politics of Empowerment
Shelia Radford-Hill
Honky
Dalton Conley
House of Light
Joyce Carol Thomas
If 6 were 9
Jake Lamar
Love on Trial
An American Scandal in Black and White
Earl Lewis & Heidi Ardizzone
Orange Laughter
Leone Ross
Purchasing Power
Black Kids and American Consumer Culture
Elizabeth Chin
Reyita
The Life of a Black Cuban Woman in the Twentieth Century
Maria De Los Reyes Castillo Bueno, Daisy Rubiera Castillo
Salvation
Black People and Love
bell hooks
Brice
Mia’s husband, is arrogant, passionate, sexy, possessive, and strikingly handsome,
looking for an old-fashioned wife, one who knows he wears the pants in the
family.
Christian
Brice’s best friend and fellow womanizer has never been in love. Women
are a dime a dozen. And he is not searching for love. Once he meets Mia,
Christian finally feels love for the first time in his life; unfortunately, it’s for
his best friend’s wife.
Tricia Baird is a freelance writer living and working Michael Marsh is an editorial assistant for the Chicago
in New York City. Reader, a weekly alternative newspaper. His short fiction
has been published in the Rockford Review and Up &
Tara Betts’s poetry has been published in Dialogue, Coming magazine.
Rhapsody In Black, and Power Lines: A Decade of
Poetry from Chicago’s Literary Guild. AKilah Monifa is a freelance writer living in Oakland,
CA. She has been published in QBR, Lesbian Review
Nathasha Brooks-Harris is a Brooklyn native, and of Books, Lambda Book Report, The Lavendar Salon
the author of the soon-to-be released Panache, a Reader, and the San Francisco Bay Times.
contemporary romance thriller, Currently, she is a
contributing editor to several popular magazines. She Angeli R. Rasbury, a lawyer and writer, is a founding
resides in Upper Darby, PA. editor of Anansi: Fiction of the African Diaspora, and
the executive director of the Nkiru Center for Education
Kimberly Burgess in addition to freelancing, is also and Culture. She is a founding member of the Charles
pursuing a doctorate in anthropology. L. Blockson Literary Collective and coedited Sacred Fire:
The QBR 100 Essential Black Books. . She has written for
Marika Flatt is the National Media Director with Phe- Black Issues Book Review and BlackPlanet.com
nix & Phenix Literary Publicists, based in Austin, TX.
Brooklyn native and resident John Roper aspires to be
B.C. Gayle is a freelance writer living in New York. an outstanding voice and facilitator within the world of
She is currently working on a novel about political education. He loves the written word and always tries
resistance of Black women to do it justice.
Deatra Haimé is a freelance writer and editor living in L. Stewart began her publishing career working in the
New York City. She is currently at work on a novel that university press arena. She now works for a major pub-
is both the bane and the love of her existence. lisher and is spearheading a movement to bring black
professionals together in the publishing field to network
Lynne d Johnson is editor at large for Mosaic and a and learn from one another.
freelance writer. Her work has been published in (ai)
Performance for the Planet, Africana.com, Artbyte, Thumper is an avid reader and host the discussion
Vibe, and Sonicnet.com. Visit her website, www. coard and CWMYB on-line reading group for AALBC.
lynnedJohnson.com com. He lives in Indianapolis and probably got his nose
in a book at this very moment.
Ron Kavanaugh is the editor and publisher of Mosaic,
host of MosaicLive! TV Show, and creator of Mosa- Kelwyn Wright, a Milwaukee based writer, is the web-
icbooks.com. master for theworldebon.com
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10 [ mosaic / fall 2001 ] www.mosaicbooks.com
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african voices
by Tara Betts
Nikky Finney, daughter of civil rights workers, sees herself playing with the hottest, blue tongue of the flame
as a witness with a pencil to the struggles of Black people and her family in the South. Documention of these
struggles represents the bulk of her poetry collection, Rice (Sister Vision Press, 1995), and also finds its hold
on her works-in-progress—a novel, Frogmarch, and a third poetry collection, The World is Round.
Finney gravitates toward recognizing the traditions she has emerged from and building her own voice.
“Time is such an essential factor. There was a time I was working 10 hours at a day job,” said Finney. This
former Kinko’s manager, waitress and photographer for National Black Women’s Health Project says she
would never take that time to write for granted.
Those precious moments granted her the opportunity to teach as a professor at University of Kentucky. In
1989, she moved to Lexington to teach at the university and joined the Affrilachian Poets, a collective of
Southern Black poets who have been writing together for 12 years. “We were in need of each other and
kept each other over the fire. We still start up every school year with new African American writers.” The
classroom always presents its challenges. “You walk into a classroom and you have 15 poets getting ready
to feed you and you’re all swimming at the same time.”
”One of the hardest things I do with writing is trying to teach writing. There is so much about writing
Jean Weisinger
that is mysterious and I want to stay that way. I never rush, this is an art that becomes more intense with
approach it like there is one way to do this. Each experience and age.” Reading and listening to the
poem dictates how it is written.” Finney stresses voice within as experiences accumulate and years
this point in a time when so many young writers pass is a part of what created Nikky Finney.
scramble to get a master’s degrees in writing. “If A voracious reader during her childhood, Finney
you’re going to a place to be taught to write, then praised the English teachers in the southern schools.
you’re missing the point. Honoring who you are, “I was thrown into an ocean of words and I kept
sitting down, locking the door and listening to your swimming,” Finney stressed this as deliberately as
voice is a part of writing. Plucking guts is your own each of her words in a poem. It almost seems as if
part of the battle.” her speech is a draft with its careful metaphors and
Although Finney’s work has appeared in numer- images reminiscent of the Harlem Renaissance and
ous anthologies, including The Bluelight Corner Black Arts Movement writers that influenced her.
(Three Rivers Press, 1998) and Step Into A World Influences are sometimes not enough. “Writ-
(Wiley, 2000), she is still crafting her two works-in- ing and writers were not exactly something you
progress. “I don’t expect to write a lot of books in aspired to be. When I started leaning towards it,
my life. The poems have to arrive.” embracing it, my parents have always been afraid.”
”Writing is painstaking and is just as much a job as In spite of her family’s fears, her grandmother, who
building a house. We don’t give ourselves the permis- passed away at age 99, encouraged her to finish
sion to write until someone sanctifies us. Instead of Rice, a collection that revisits stories of ancestors and
knocking on doors and plastering it on doors, people relatives long past and connections to our present
just go unrecognized. It’s also knowing how to be Black selves.
your bad ass peacock self.” Rice is easier to find than her first book, published
Finney follows this idea with a cautious truth when she was 26, On Wings Made of Gauze (Wil-
that the rush to be published ignores. “Learn the liam Morrow, 1985). “I have some burn marks with
craft and submerge yourselves in the power of the William Morrow and the way they handled my book.
writing. We need to sit at someone’s shoulder and As a young, impressionable and naïve writer, I [had]
listen. We have to listen to knowledge brick-by-brick, to take in some truths sitting at the feet of Toni Cade
then figure out what you can contribute to the tradi- Bambara.” As a result of the writing workshop she
tion. We have to slow down and not be in such a took with Bambara in Atlanta, Finney made a deci-
sion. “I would be more involved, be more aggressive,
The publishing industry; Random House, Warner Books, and Simon & Schuster among
them; has recently discovered the potential of marketing to the African American com-
munity, producing a wave of “new” titles specifically for the African American reader. And
these major publishers are redefining the word “new.” A unique phenomenon, publishers
are buying originally self-published novels, repackaging and re-issuing them. Bestselling
authors Karen Quinones Miller, Camika Spencer, Omar Tyree, and E. Lynn Harris, all
self-published their first books. Before the self-publishing success of Harris’s Invisible Life
and Tyree’s Flyy Girl, the publishing industry paid little attention to this market. Previous
to this recent trend, the majority of these re-released titles would have been considered
paperback romance novels—priced at twelve to fifteen dollars. With the realization that
African Americans will buy books marketed to them, publishers are buying the rights to
self-published books, designing new covers and re-releasing them priced at twenty to
twenty-five dollars. With few exceptions, the books seem to be of similar genre, both
aesthetically and literarily. It’s hard to tell one book from the next—most of the book
jackets seem to be designed by the same two or three fortunate designers—each is quite
colorful with illustrations of strange faceless people on the covers. The similarities between
books for children and books marketed to African Americans is quite distubing. Also take
note of the subject matter, which generally floats around some form of relationship woes
that only a girlfriend or God can solve, usually very neatly in the last chapter.
With the advent of desktop publishing and the Internet, the ability for anyone to publish
a book is leading this new charge of fiction readers seem not to get enough of. The great
thing about self-publishing is all you need is a story idea and the ability to hustle, a la
Nicky Barnes. There are several websites that, for a fee, will print-on-demand (printing
only the quantity of books you need or can afford).
GettyImages
BUSINESS AS USUAL
Simon and Schuster, which has yet to launch an
VIACOM
Simon and Schuster
African American imprint, will reissue the originally self- MTV
published book, Addicted by Zane, and recently reis- Black Entertainment Television
sued Satin Doll by Karen Quinones Miller. Both original Arabesque Romance Novels
self-published releases were phenomenal successes, but Sepia Books
it does raise the question; whether there is room for ad- CBS
ditional book sales of a Simon and Schuster release? The Paramont Motion Pictures
UPN
argument can be made that the self-published releases
Nickelodeon
have reached almost every potential book buyer who Country Music Television
Showtime
The Movie Channel
Blockbuster Entertainment
H
can be reached, and the publisher of the re-release
is betting these authors will continue to hustle the e told me he would be right back. And when
way they did for their original books and drive I heard the front door close like a whisper, I began
follow-up releases to greater sales. countin’ the minutes, the hours… the days. He’s not
The outlook for African American literature is comin’ back. I knew when I was half asleep, when
brighter once you get past the plethora of com- he was strokin’ my hair, my vulnerable naked body,
mercial fiction. Michael Datcher’s Raising Fences, touchin’ me, but touchin’ me from a distance as if he
David Durham’s Gabriel’s Story, Child of God by was afraid to break my skin, my heart, that he wasn’t
Lolita Files, Greenwichtown by Joyce Palmer, The comin’ back. They never come back for me, but they
Butterfly’s Way edited by Edwidge Dandicat and always seem to take somethin’ valuable from me and
Bernice McFadden’s The Warmest December, are leave behind somethin’ that I can’t use — somethin’
all excellent reads published in 2001, but usually that I don’t want.
these are not the books that receive the push from
the marketing departments. Most editors would I remember clearly the way he walked up to me,
prefer to publish this kind of quality but often movin’ like he got music caught in his skin, bass and
find their hands tied by the push to sell books in tom-toms in his soul, beatin’ feverishly and pas-
mass quantities. When a book does not sell at an sionately. And he walked or should I say strolled like
expected rate it becomes less likely that a writer Superfly as if his feet were too precious to touch the
of similar talent will be signed. ground, a man only on earth temporarily, just takin’ up
An interesting note is African American imprints space, beautiful Black space. He strolled towards me
are not publishing all African American writers. takin’ ten steps. I counted because I was waitin’ and
None of the previously mentioned writers were anticipating his arrival when he would be up in my
published by African American imprints. Will face, in my personal space, in my world, and in me.
African American imprints publish Terry McMil- He had five more steps to go and I was still anticipatin’.
lan, Toni Morrison, Walter Mosley, Alice Walker, And then he smiled.
or Zadie Smith? The pattern tends to support that
any book that has the potential of critical acclaim I noticed the gold over his right canine tooth and that
or Oprah’s blessing has too much crossover appeal made him special because other men would have put
to be aligned solely with being Black. the gold on the front tooth, so the gold could be seen
And if there is any hope that this will grow into with every movement of their lips. But he had to smile
an honest movement to advance Black literature long and wide for me to see the gold canine tooth and
when will we start seeing non-fiction, anthologies I liked him from then on. I like his smile. Eight steps,
and poetry available by these new imprints? This nine steps and “hello.” He was close enough for me
may be a start, but until there is more diversity of to hear the rhythms trapped inside of him. The same
subject matter, overall enthusiasm for this current rhythms that made him walk so—-no, strolled so—and
trend will remain lacking. I liked what I heard. How did he know that I loved
music, loved to dance and to sing. And he a stranger
by Michael Marsh
Long before he thought of becoming a novelist, Chester like many of his novels, was a commercial failure.
Himes was a budding criminal.
The youngest of three sons, Himes was born in Jefferson
Himes’s approach to his first vocation, and his later City, Missouri, in 1909 to parents who were radically
writing, was simple and direct. In November 1928, he different from each other. His father, Joseph, was dark-
walked into the house of an elderly couple in Cleveland skinned in a racially explosive era. He was a friendly,
Heights, Ohio and fled in their Cadillac with some almost obsequious man who taught mechanical arts at
cash and a fistful of jewelry. He planned to pawn the Black colleges in the South. Himes’s mother, Estelle,
jewels at a shop in Chicago’s Loop. Once he arrived at was a housewife who studied music in a Philadelphia
the pawnshop, however, the police were called, and conservatory. She taught Chester and his brother,
Himes was arrested. At the station, detectives bound his Joseph Jr., at home for a few years after the family
feet, handcuffed his wrists behind his back, and pistol- moved to Mississippi, because she felt the elementary
whipped him before turning him over to a Cleveland schools there were not good enough. A fair-skinned
Heights detective. He was given a 20-year sentence in woman, she was fiercely proud of being part White.
the Ohio State Penitentiary. During the seven and a half Himes inherited both her pride as well as her hatred
years he served, Himes would write the short stories of racism. In the first volume of his autobiography, The
that launched his literary career. Quality of Hurt, he wrote: “My father was born and
raised in the tradition of the Southern Uncle Tom; that
Despite having these prison stories published in national tradition derived from an inherited slave mentality,
magazines, once he was back on the street, Himes had which accepts the premise that White people know
to eke out a living at such jobs as waiter and sewer dig- best, that Blacks should accept what Whites offer and
ger. With the start of World War II, Himes and his first be thankful, that Blacks should count their blessings.
wife, Jean Johnson, moved to Los Angeles, where he My mother, who looked White and felt that she should
worked in shipyards, and shoveled gravel and sand. In have been White, was the complete opposite...She was
1945, he completed his first novel, If He Hollers Let Him a tiny woman who hated all manner of condescension
Go, a story of racism in the workplace, but the book, from White people and hated all Black people who
Salvation: Black People and Love and Reunion,” and part of the problem with Salvation
by bell hooks is that it takes 154 pages to get there.
William Morrow hooks’s exhaustive and often pedantic scholarship
Reviewed by Kelwyn Wright is as impressive as it is daunting, especially in the first
third of the book, which reads more like a doctoral
From the introduction, “Love Is Our Hope,” to the thesis than a collection of essays. The book picks up
final chapter, “Loving justice,” bell hooks’s new col- steam and momentum when hooks steps away from
lection of essays, Salvation, takes us on a guided tour her note cards and begins to quote herself rather
of the detritus of the emotion formally known as than her laundry list of authors, philosophers and
Love. Starting with the curious institution of slavery pop psychologists. In chapter eight, “Loving Black
and the Middle Passage to the current hip-hop nation Masculinity––Fathers, Lovers, Friends,” hooks gives us
of mutual disrespect, hooks uses autobiographical a snippet of her memoir Bone Black where she says
asides, and quotes everything from the slave narra- of her grandfather, “His smells fill my nostrils with the
tives of Frederick Douglass and Harriet Jacobs to the scent of happiness.” This prose is simple, poetic and to
pop psychology of M. Scott Peck to bolster the thesis the point––something Salvation often is not. So much
encapsulated in the first sentence of chapter nine: of this book feels like intellectual vamping filler (i.e.,
“There has never been a time in this nation when my-scholarship-is-bigger-than-your-scholarship) that
the bonds of love between Black women and when hooks lays down her professorial mantle and
men have not been under siege.” Chapter just tells us something, the effect is both
Nine is titled “Heterosexual Love––Union bracing and informative.
My name is Assata Shakur, and I am a 20th century escaped slave. Because of government per-
secution, I was left with no other choice than to flee from the political repression, racism and
violence that dominate the U.S. government’s policy towards people of color. I am an ex-political
prisoner, and I have been living in exile in Cuba since 1984.
– An Open Letter from Assata Shakur, 1998
When Assata Shakur’s triumphant and compelling autobiography showed up in Mosaic Maga-
zine’s mailbox recently, we wondered if it was an updated edition that included new information,
revitalized insights or a postscript of her life since her story first appeared in 1987. But other
than a new forward by Angela Davis, Assata’s tale remains the same stunning discourse on the
madness of U.S. political policy and the daring but vital Black revolutionary resistance of the
1960s and 1970s. Sadly, hers is still not a story of resolution
and healing. Seventeen years later, she remains a political
refugee (and according to the state of New Jersey, an escaped
convict) living in Cuba—safe only as long as Fidel Castro
continues to grant her asylum and money-hungry bounty
hunters can’t find her.
by Angeli Rasbury
Smartt began writing poetry when she was a little girl. “In my
solitude, abandonment, I turned to my diary,” she explained.
“It became a place where I expressed my thoughts and
feelings, somewhat gingerly at first. The emotions around
my sister leaving home generated one of my first conscious
poems.”
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[ fall 2001 / mosaic ] 39
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to bring the latest in Black and Hispanic literature.
Make check or money order payable to:
Mosaic Communications 314 W 231st St. #470 Bronx, NY 10463
or visit us on the web at www.mosaicbooks.com
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or visit us on the web at www.mosaicbooks.com
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40 [ mosaic / fall 2001 ] www.mosaicbooks.com
living out of. I didn’t know that you could
do that. I didn’t know until fairly late in my
education that Black people wrote novels
or poetry or anything like that. So it was
all kind of new territory and it was a terri-
tory that I had to explore, map, navigate
and come to know and understand as a
terrain that I had every right to be in. That
took time. Some of my work is about that
process of becoming and being who you
are in the face of a world that tells you, you
are nothing and you’re nobody and you
don’t really count for that much.”
One of the first Black books that Smartt
ever read was How Europe Underde-
veloped Africa by Ted Jones. “It was a
groundbreaking social historical text that I
liberated from the library and read. Read-
ing that completely changed my world
view. It was like I didn’t know. Nobody
told me all of that. I was kind of shocked
and horrified and understood some things
better because of it.”
Smartt began performing poetry in the
1980’s and embraced live art as a fertile
arena in the 90’s. Her performance work, like her poetry, draws upon her experi-
ences of being born and raised in England, her Bajan heritage and her exploration of
issues of identity, belonging, bereavement and body image. Smartt has also delved
into the hair story. One of the poems in Connecting Medium, “five strands of hair,”
deals with the many issues around hair. “Fact: A chemical used to straighten African
hair is called ‘lye’./ Fact: Black women spend a major part of their income fixing their
hair.” When she read this poem and others in her book in July one could not help
but bring up images of Dread Mary.
Another reason that Smartt was in New York this summer lies in her commitment
to work on her craft. Smartt received an award from Life Art Development Agency in
England to come to the United States to work with her mentor, Obie Award-winning
Robbie McCauley. Her poetry can also be found in the anthology IC3: The Penguin
Book of Black Writing in Britain.
by Marika Flatt
Four years ago, upon graduating college, I began my Now, for a walk-through of the book publishing process.
job search in the communications field. I accepted Writer completes manuscript. Writer finds agent to sell
a job as an assistant publicist with Phenix & Phenix manuscript to publisher. Publisher agrees to publish
Literary Publicists. Inevitably, family and friends would book. Publisher edits copy, coordinates cover design,
ask, as they still do, “Where are you working?” The organizes production of galleys (review copies) and
next question was and is always, “What do you do?” actual book, coordinates distribution to bookstores and
I have had to explain what I do as a literary publicist. other booksellers, then publicist takes over.
And not just to family and friends. Even writers do not
usually know what a literary publicist does. The best time to secure a literary publicist is three to
four months before the publication date, in order to
It’s true, most people do not grow up saying they want allow for the maximum amount of time to organize the
to become a book publicist. Probably because no one campaign. Nevertheless, many authors find a publicist
knows what one does. However, this wonderfully ex- about the same time that their book hits bookshelves.
citing job is where the heart lies for someone like me A typical campaign lasts six months and is orchestrated
who has a passion for books, coupled with a passion systematically. The publicist spend the first month
for the media. After four promotions, I am now the developing strategy and press materials. Then we be-
National Media Director and believe I have the best gin contacting book industry publications that require
job in the world. copies of the book prior to publication. We also begin
to contact magazines with the longest lead times. The
Part of my job is to speak to writers’ groups at con- typical magazine requires a three-month lead-time.
ferences and discuss how to create a stellar publicity
campaign for a book. I am no longer amazed that 9 The publicist then begins contacting appropriate edi-
out of 10 people in my workshops are hearing about tors of daily newspapers and radio as well as television
literary publicity for the first time. I thrive on being producers. Online media is typically the last segment of
able to unlock the mystery of publicity for them. I media to be contacted because they move at Internet
am easily excited by uncovering one more piece of speed and require little-to-no lead-time. After all ap-
the book publishing puzzle in their quest for bestseller propriate media has been contacted, follow up begins.
stardom. Follow-up is absolutely essential for the execution of
any publicity campaign. Most media contacts receive
mosaic
4 ISSUES FOR $12.00
www.mosaicbooks.com
no never mind to me
which shade you decide upon just
Nutritional
a united cause. Her choices not only reveals a heartfelt
conviction she eventually became ready (and willing)
to die for, but ultimately determined her life path and
current circumstances. As such, her story reflects the
Facts
Serving Size: 4 magazines
passion of a seemingly long-ago era, when activism
was heroic and folks were committed against all odds. Sevings Per Magazine: 1
Assata’s legacy stands as a call to action for what is just
and right, and her example of courage and commitment Amount Per Serving
is a lesson never to be forgotten. Calories 850 Calories from Fat 0
From as far away as Cuba, separated from friends, 97%
family and loved ones, Assata persists in railing against %Daily Value*
0%
injustice, inequality and political oppression, and has Knowledge 975 mg
0%
literally given her life to active resistance. Although Total Fat 0g
0%
America’s law enforcement agencies use her original Saturated Fat 0g
85%
murder conviction and subsequent escape as justifica- Cholesterol 0mg
25%
tion for their continued pursuit of her capture, the larger Power 725 mg
15%
issue surrounds her savvy at eluding punishment for the Total Carbohydrates 11g
“crime” of resistance. Somehow, Assata has managed Dietary Fiber 10g
to best a complicated, sophisticated system of perse- Sugar 1g
cution and has found both the means and support to Protein 75g
continue to define her existence on her terms. Her
story continues.
Subscribe today and get all the vitamins your
doctor recommends for a healthy intelligent diet.
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