Joseph McLaren – författare

The complexity of African society entering the 21st century necessitates an interdisciplinary examination of Africa's political, social, and cultural developments and challenges. Focusing on Social Movements and Literature, Social Change and Culture, the book brings together a wide range of essays by committed scholars, writers, and activists concerned with progressive approaches to Africa's dilemmas.Beginning with an overview by anthropologist Cheryl Mwaria, African Visions addresses such issues as structural adjustments, religious freedom, human rights, democratization, educational movements, and health care. Particular analyses consider intellectual property, student activism, and the AIDS epidemic. Mwaria, Federici, and McLaren also explore the way social and cultural questions have been treated in literary works and theoretical studies dealing with hybridity, sexual politics, literacy, socialist orientations, and language. Noted literary scholars Odun Balogun and Alamin Mazrui consider aspects of these issues. The collection also examines trends in literature, publishing, and theater in such countries as Algeria, Niger, Nigeria, and South Africa in relation to themes such as gender, popular culture, African novels, and protest. Highlighting articles by two of Africa's leading activist/writers Dennis Brutus of South Africa, stressing regional cooperation, and Ngûgî wa Thiong'o of Kenya, advocating African languages, African Visions avoids the pessimism associated with numerous 20th century studies. Brutus and Ngûgî consider the economic and cultural effects of globalization and the necessity for promoting self-determination. An essential resource for all scholars and students concerned with contemporary African life and culture.

Though known primarily as a poet, Langston Hughes crafted well over 40 theatrical works. This book examines Hughes's stage pieces from his first published play, The Gold Piece (1921), through his post-radical wartime effort, For This We Fight (1943). Hughes's stage writing of this period includes such forms as the folk comedy, the protest drama, the historical play and the blues opera. McLaren concludes that the democratic argument is ultimately employed by Hughes to challenge segregation in the military and that Hughes's iconography prefigures the black aesthetic of the 1960s. Photographs complement the text.McLaren demonstrates that Hughes's folk comedies, such as Mule Bone (1930) and Little Ham (1936), valorize folk humor and black vernacular. Written in collaboration with Zora Neale Hurston, Mule Bone resulted in a literary controversy. The study also analyzes Hughes's radical plays, including Scottsboro Limited (1931) and Don't You Want to Be Free? (1938), which blend poetry and drama. Also addressed is Hughes's association with community drama groups, especially Karamu Theatre in Cleveland and the Harlem Suitcase Theatre, which premiered Don't You Want to Be Free? and a number of Hughes's satires. In the early 1940s, Hughes entered his post-radical period but continued to protest fascism and celebrate black heroes and heroines. This transition is reflected in his critique of Richard Wright's Native Son. McLaren concludes that the democratic argument is used to challenge segregation in the military and that Hughes's iconography prefigures the black aesthetic of the 1960s. This book will be of great interest to students and scholars of radical theatre and African American drama. Photographs complement the text.

This is the second volume of Langston Hughes's autobiography, charting the period of his life from age 29 to 35. It is filled with portraits of the people and places Hughes encountered during his travels around the world.

Composer of more than 100 jazz pieces, three-time Grammy nominee, and performer on more than 125 albums, saxophonist Jimmy Heath has earned a place of honor in the history of jazz. Over his long career, Heath knew many jazz giants, such as Charlie Parker, and played with other innovators, including John Coltrane, Miles Davis, and especially Dizzy Gillespie. Along the way, Heath won both their respect and their friendship.In this extraordinary autobiography, the legendary Heath creates a "dialogue" with musicians and family members. As in jazz, where improvisation by one performer prompts another to riff on the same theme, I Walked with Giants juxtaposes Heath's account of his life and career with recollections from jazz giants about life on the road and making music on the world's stages. His memories of playing with his equally legendary brothers, Percy and Albert (aka "Tootie"), dovetail with their recollections.Heath reminisces about a South Philadelphia home filled with music and a close-knit family that hosted musicians performing in the city's then thriving jazz scene. Milt Jackson recalls, "I went to their house for dinner. . . . Jimmy's father put Charlie Parker records on and told everybody that we had to be quiet till dinner because he had Bird on. . . . When I [went] to Philly, I'd always go to their house."Today Heath performs, composes, and works as a music educator and arranger. By turns funny, poignant, and extremely candid, Heath's story captures the rhythms of a life in jazz.