Synopses & Reviews
An 1830s African-American slave narrative written in Arabic. Dafydd Morgan, the only American immigrant novel published in Welsh. The Native American epic, Walum Olum, in the Lenape language. Theodor Adorno's dream transcripts, in German. A short story about the politics of abortion in working-class Chinatown. "Lesbian Love," a surprisingly explicit chapter from an 1853 New Orleans novel. A haunting 1904 ballad, "The Revenge of the Forests," that is one of the first expressions of radical environmentalism in the United States.
Largely ignored in the debates over canon and multiculturalism in America, indigenous American works written in languages other than English have over time disappeared from view.
The first anthology of its kind, The Multilingual Anthology of American Literature brings together American writings in diverse languages from Arabic and Spanish to Swedish and Yiddish, among others. Presenting each work in its original language with facing page translation, the book provides an important complement to all other anthologies of American writing, and will serve to complicate our understanding of what exactly American literature is.
American literature appears here as more than an offshoot of a single mother country, or of many mother countries, but rather as the interaction among diverse linguistic and cultural trajectories.
Consider that Cotton Mather spoke half a dozen languages and wrote in both Spanish and Latin. Or that the first short story known to have been written by an African American (and reproduced here) was written in French. Not only a literature of immigration and assimilation, American multilingual literature participates in the larger literary tradition which too often marginalizes authors who complicate the fit of authorship, citizenship, and language.
Review
“In her book, Cheney tries to dispel the notion that all rap music is about sex, violence and bling. . . . The book is insightful—particularly to white Americans who don't get the appeal of Louis Farrakhan or to older African-Americans whose knowledge of black music stops at Smokey Robinson. After reading this book, both groups might at least be tempted to sample some Public Enemy music.”
“A study of rap singers of the 1980s and 90s that sets their political expression in the context of the racial and sexual politics of black nationalism since the early 19th century.”
“.[A] must read for anyone interested in the problems of gender and politics in rap music. Charise Cheney combines an historian's insight with an expansive knowledge of hip-hop culture to produce this remarkable study of the rise of artists influenced by black nationalism—the self-proclaimed “raptivists.” Cheney dives head-on into the contentious debates regarding the articulations of masculinity and black nationalism in rap, and how these reflect black Americans' age-old desire for power and authority. A vital contribution.”
“A provocative analysis that no one will be able to ignore. A compelling challenge to consider the ways that patriarchy has influenced the movement for black self-determination.”
“A lively, unique, and often revisionist perspective on the sexual politics of hip-hop culture.”
Review
“In her book, Cheney tries to dispel the notion that all rap music is about sex, violence and bling. . . . The book is insightful—particularly to white Americans who don't get the appeal of Louis Farrakhan or to older African-Americans whose knowledge of black music stops at Smokey Robinson. After reading this book, both groups might at least be tempted to sample some Public Enemy music.”
-The San Luis Obispo Tribune,
Review
“A study of rap singers of the 1980s and 90s that sets their political expression in the context of the racial and sexual politics of black nationalism since the early 19th century.”
-The Chronicle,
Review
“.[A] must read for anyone interested in the problems of gender and politics in rap music. Charise Cheney combines an historian's insight with an expansive knowledge of hip-hop culture to produce this remarkable study of the rise of artists influenced by black nationalism—the self-proclaimed “raptivists.” Cheney dives head-on into the contentious debates regarding the articulations of masculinity and black nationalism in rap, and how these reflect black Americans' age-old desire for power and authority. A vital contribution.”
-Jane Rhodes,author of Framing the Black Panthers: The Spectacular Rise of a Black Power Icon
Review
“A provocative analysis that no one will be able to ignore. A compelling challenge to consider the ways that patriarchy has influenced the movement for black self-determination.”
-Choice, Highly Recommended,
Review
“A lively, unique, and often revisionist perspective on the sexual politics of hip-hop culture.”
Review
"What exactly constitutes American literature? Harvard professors Marc Shell (OVERDUE; ART AND MONEY) and Werner Sollors (THEORIES OF ETHNICITY; BLACKS AT HARVARD; MULTILINGUAL AMERICA) offer a unique and fascinating twist with THE MULTILINGUAL ANTHOLOGY OF AMERICAN LITERATURE: A READER OF ORIGINAL TEXTS WITH ENGLISH TRANSLATIONS. They say that American literature doesn't include only material written in English--it includes a Lenape epic, WALAM OLUM; it includes Omar Ibn Said's African-American narrative in Arabic; it includes Victor Sejour's French story "Le Mutatre." Twenty-nine works are here, in languages ranging from Russian and Yiddish to Welsh and Norwegian, along with English translations, reminding us of America's polyglot roots." -Publishers Weekly,
Synopsis
Brothers Gonna Work It Out considers the political expression of rap artists within the historical tradition of black nationalism. Interweaving songs and personal interviews with hip-hop artists and activists including Chuck D of Public Enemy, KRS-One, Rosa Clemente, manager of dead prez, and Wise Intelligent of Poor Righteous Teachers, Cheney links late twentieth-century hip-hop nationalists with their nineteenth-century spiritual forebears.
Cheney examines Black nationalism as an ideology historically inspired by a crisis of masculinity. Challenging simplistic notions of hip-hop culture as simply sexist or misogynistic, she pays particular attention to Black nationalists historicizing of slavery and their visualization of male empowerment through violent resistance. She charts the recent rejection of Christianity in the lyrics of rap nationalist music due to the perception that it is too conciliatory, and the increasing popularity of Black Muslim rap artists.
Cheney situates rap nationalism in the 1980s and 90s within a long tradition of Black nationalist political thought which extends beyond its more obvious influences in the mid-to-late twentieth century like the Nation of Islam or the Black Power Movement, and demonstrates its power as a voice for disenfranchised and disillusioned youth all over the world.
Synopsis
A lively, unique, and often revisionist perspective on the sexual politics of hip-hop culture. -William L. Van Deburg, author of New Day in Babylon: The Black Power Movement and American Culture, 19651975 Must reading for anyone interested in the problems of gender and politics in rap music. Charise Cheney combines an historians insight with an expansive knowledge of hip-hop culture to produce this remarkable study of the rise of artists influenced by black nationalism-the self-proclaimed raptivists. Cheney dives head-on into the contentious debates regarding the articulations of masculinity and black nationalism in rap, and how these reflect black Americans age-old desire for power and authority. A vital contribution."-Jane Rhodes, author of Framing the Black Panthers: The Spectacular Rise of a Black Power Icon Brothers Gonna Work It Out considers the political expression of rap artists within the historical tradition of black nationalism. Interweaving songs and personal interviews with hip-hop artists and activists including Chuck D of Public Enemy, KRS-One, Rosa Clemente, manager of dead prez, and Wise Intelligent of Poor Righteous Teachers, Cheney links late twentieth-century hip-hop nationalists with their nineteenth-century spiritual forebears. Cheney examines Black nationalism as an ideology historically inspired by a crisis of masculinity. Challenging simplistic notions of hip-hop culture as simply sexist or misogynistic, she pays particular attention to Black nationalists'historicizing of slavery and their visualization of male empowerment through violent resistance. She charts the recent rejection of Christianity in the lyrics of rap nationalist music due to the perception that it is too conciliatory, and the increasing popularity of Black Muslim rap artists. Cheney situates rap nationalism in the 1980s and 90s within a long tradition of Black nationalist political thought which extends beyond its more obvious influences in the mid-to-late twentieth century like the Nation of Islam or the Black Power Movement, and demonstrates its power as a voice for disenfranchised and disillusioned youth all over the world.
About the Author
Marc Shell is Professor of Comparative Literature and English and American Language and Literature at Harvard University.
Werner Sollors is Henry B. and Anne M. Cabot Professor of English Literature and Professor of Afro-American Studies and Chair of the History of American Civilization Program at Harvard University. He is the author and editor of numerous books, including The Multilingual Anthology of American Literature, Theories of Ethnicity: A Classical Reader, and Multilingual America: Transnationalism, Ethnicity, and the Languages of American Literature, all available from NYU Press.