Mark A. Sanders – författare

Using oral history and the printed word, Sterling A. Brown set out during the Second World War to capture the response of African Americans, primarily living in the South, to America's involvement in the war and how it affected them. These responses, brought together in extended, non-fiction essays of many different types, illustrate the diversity of opinions in the Black South about the war and the war period in America. For nearly sixteen years, the excerpts that were never published languished in Brown's manuscript collection at Howard University. Now, for the first time, all of the completed pieces of unpublished writings are combined with the few published sections into the book that Brown envisioned. The legacy Brown left us is not only a superb portrait of the way in which African Americans of the mid-century talked and lived; he also provided a methodology that oral and written historians will find extremely useful. This is clearly a document from another time, as its now outdated title reminds us, but it reveals a world that still informs our sense of ourself as a nation. In fact, it is an unforgettable history, which Brown has cast in a bright, elucidating new light.

In 1896, an illiterate, fifteen-year-old Afro-Cuban field hand joined the rebel army fighting for Cuba's independence. Though poor and uneducated, Ricardo Batrell believed in the promise of Cuba Libre, the vision of a democratic and egalitarian nation that inspired the Cuban War of Independence. After the war ended in 1898, Batrell taught himself to read and write and published a memoir of his wartime experiences, Para la Historia. Originally published in 1912-the same year in which the Cuban government massacred more than 5,000 Afro-Cubans-this work of both protest and patriotism is the only autobiographical account of the war written by an Afro-Cuban soldier.After the war, Batrell became dismayed by the Cuban Republic's rapid retreat from the revolution's democratic ideals. Government corruption, racial discrimination, and the systematic exclusion of black veterans from public service had helped to reassert the racial hierarchy of colonial Cuba. With his memoir, Batrell hoped to remind Cubans about the participation of Afro-Cubans in the war (as much as 80 percent of the Cuban Liberation Army may have been Afro-Cuban) and to protest their subjugation in its aftermath.Now available for the first time in English, Batrell's powerful memoir provides profound insights into the role of race in the nation's history. Deftly rendering Batrell's forceful and energetic prose into English, Mark A. Sanders also puts forth a critical introduction that contextualizes Batrell's perspective within Cuba's colonial history and its racial politics.

Sterling A. Brown’s poetry and aesthetics are central to a proper understanding of African American art and politics of the early twentieth century. This study redefines the relationship between modernism and the New Negro era in light of Brown’s uniquely hybrid poetry and vision of a heterodox, pluralist modernism. Brown, also a folklorist and critic, saw the Harlem Renaissance and modernism as interactive rather than mutually exclusive and perceived the New Negro era as the dawning of African American modernity. Reading Brown’s three collections of poetry in light of their respective historical contexts, Sanders examines the ways in which Brown reconfigured black being and created alternative conceptual space for African Americans amid the prevailing racial discourses of American culture. Brown’s poetics call for revised conceptions of the Harlem Renaissance, black identity, artistic expression, and modernity that recognize the range, depth, and complexity of African American life.

Complicities explores the complicated-even contradictory-position of the intellectual who takes a stand against political policies and ideologies. Mark Sanders argues that intellectuals cannot avoid some degree of complicity in what they oppose and that responsibility can only be achieved with their acknowledgment of this complicity. He examines the role of South African intellectuals by looking at the work of a number of key figures-both supporters and opponents of apartheid.Sanders gives detailed analyses of widely divergent thinkers: Afrikaner nationalist poet N. P. van Wyk Louw, Drum writer Bloke Modisane, Xhosa novelist A. C. Jordan, Afrikaner dissident Breyten Breytenbach, and Black Consciousness leader Steve Biko. Drawing on theorists including Derrida, Sartre, and Fanon, and paying particular attention to the linguistic intricacy of the literary and political texts considered, Sanders shows how complicity emerges as a predicament for intellectuals across the ideological and social spectrum. Through discussions of the colonial intellectuals Olive Schreiner and Sol T. Plaatje and of post-apartheid feminist critiques of the Truth and Reconciliation Commission, Complicities reveals how sexual difference joins with race to further complicate issues of collusion.Complicities sheds new light on the history and literature of twentieth-century South Africa as it weighs into debates about the role of the intellectual in public life.