This volume in the 21st-Century Oxford Authors series offers an authoritative, comprehensive selection of the work of Arthur Hugh Clough (1819-1861), one of the most distinctive writers of the Victorian period. The first selection to place Clough's poetry alongside his prose, it allows readers to explore how his poems are connected to his literary criticism and his lectures on literary history, to his letters and diaries, and to his writing on politics and economics. A political radical and religious sceptic, Clough emerges as a strikingly modern Victorian: he writes honestly and directly about sexuality, and his work is informed by a cosmopolitan perspective that views Victorian society in the context of other national, political, and cultural traditions. Clough's innovative poems incorporate a diverse range of voices and styles, borrowing and reimagining aspects of the epic, the drama, and the novel. And they reveal a side of Victorian culture-irreverent, iconoclastic, and self-aware-that is often ignored today. Detailed notes identify and explain Clough's comments on major political events such as the European revolutions of 1848, and his allusions to a wide array of different writers and texts. The edition includes an Introduction to the life and works of Clough, and a Chronology, which enhance the study, understanding, and enjoyment of these works.

The most comprehensive book yet on this inspired, inventive chronicler of the African-American experience Alabama-born, Chicago-based Kerry James Marshall is one of the most exciting artists working today. Critically and commercially acclaimed, the painter is known for his representation of the history of African-American identity in Western art. Conversant with a wide typology of styles, subjects, and techniques, from abstraction to realism and comics, Marshall synthesizes different traditions and genres in his work while seeking to counter stereotypical depictions of black people in society. This is the most comprehensive overview available of his remarkable career.

Since launching his career at the Village Voice in the early 1980s Greg Tate has been one of the premiere critical voices on contemporary Black music, art, literature, film, and politics. Flyboy 2 provides a panoramic view of the past thirty years of Tate's influential work. Whether interviewing Miles Davis or Ice Cube, reviewing an Azealia Banks mixtape or Suzan-Lori Parks's Topdog/Underdog, discussing visual artist Kara Walker or writer Clarence Major, or analyzing the ties between Afro-futurism, Black feminism, and social movements, Tate's resounding critical insights illustrate how race, gender, and class become manifest in American popular culture. Above all, Tate demonstrates through his signature mix of vernacular poetics and cultural theory and criticism why visionary Black artists, intellectuals, aesthetics, philosophies, and politics matter to twenty-first-century America.

White kids from the ’burbs are throwing up gang signs. The 2001 Grammy winner for best rap artist was as white as rice. And blond-haired sorority sisters are sporting FUBU gear. What is going on in American culture that’s giving our nation a racial-identity crisis?

Following the trail blazed by Norman Mailer’s controversial essay “The White Negro,” Everything but the Burden brings together voices from music, popular culture, the literary world, and the media speaking about how from Brooklyn to the Badlands white people are co-opting black styles of music, dance, dress, and slang. In this collection, the essayists examine how whites seem to be taking on, as editor Greg Tate’s mother used to tell him, “everything but the burden”–from fetishizing black athletes to spinning the ghetto lifestyle into a glamorous commodity. Is this a way of shaking off the fear of the unknown? A flattering indicator of appreciation? Or is it a more complicated cultural exchange? The pieces in Everything but the Burden explore the line between hero-worship and paternalism.

Among the book’s twelve essays are Vernon Reid’s “Steely Dan Understood as the Apotheosis of ‘The White Negro,’” Carl Hancock Rux’s “The Beats: America’s First ‘Wiggas,’” and Greg Tate’s own introductory essay “Nigs ’R Us.”

Other contributors include: Hilton Als, Beth Coleman, Tony Green, Robin Kelley, Arthur Jafa, Gary Dauphin, Michaela Angela Davis, dream hampton, and Manthia diAwara.



From the Hardcover edition.

Since launching his career at the Village Voice in the early 1980s Greg Tate has been one of the premiere critical voices on contemporary Black music, art, literature, film, and politics. Flyboy 2 provides a panoramic view of the past thirty years of Tate's influential work. Whether interviewing Miles Davis or Ice Cube, reviewing an Azealia Banks mixtape or Suzan-Lori Parks's Topdog/Underdog, discussing visual artist Kara Walker or writer Clarence Major, or analyzing the ties between Afro-futurism, Black feminism, and social movements, Tate's resounding critical insights illustrate how race, gender, and class become manifest in American popular culture. Above all, Tate demonstrates through his signature mix of vernacular poetics and cultural theory and criticism why visionary Black artists, intellectuals, aesthetics, philosophies, and politics matter to twenty-first-century America.