» Books

By JORDANNAH ELIZABETH

Special to the AmNews

There is nothing more important in the Black community than self-education. More than ever before, Black voices are being amplified and published to examine and explore topics of Black life, history and culture in a manner that is thorough, thought-provoking and empowering.

Duke University Press is a leading academic publisher that has been pushing the envelope in Black nonfiction for the past decade. Their catalog becomes more robust each year by choosing Black thinkers who are ahead of the curve and experts in their fields.

Here are five upcoming books from Duke’s 2022 catalog that will inspire readers to expand their understanding of the Black experience and engage with writers who embody the vision and talent to guide the current generation into a paradigm of information and Black pride.

“or, on being the other woman” by Simone White

Publishing date: August 2022

Literary critic and poet, Simone White offers a literary piece that combines poetry, personal narrative and essay to express her experience of the complexities of Black feminist life. White’s acute ability to weave vivid and creative prose and poetry as a form of communication and self-aware expression makes “or, on being the other woman” exciting and unique.

“Throughout this book-length poem, White writes through a hybrid of poetry, essay, personal narrative, and critical theory, attesting to the narrative complexities of writing and living as a Black woman and artist. She considers Black social life—from art and motherhood to trap music and love—as unspeakably troubling and reflects on the degree to which it strands and punishes black women.”—Duke University Press

“King’s Vibrato: Modernism, Blackness, and the Sonic Life of Martin Luther King Jr.”

Publishing date: September 2022

Associate Professor of English at Rutgers University-New Brunswick, Maurice O. Wallace writes an interesting narrative on the power of Dr. Martin Luther King Jr.’s voice, literally.

“Providing a cultural history and critical theory of the Black modernist soundscapes that helped inform King’s vocal timbre, Wallace shows how the qualities of King’s voice depend-

ed on a mix of ecclesial architecture and acoustics, musical instrumentation and sound technology, audience and song. He examines the acoustical architectures of the African American churches where King spoke and the centrality of the pipe organ in these churches, offers a Black feminist critique of the influence of gospel on King, and outlines how variations in natural environments and sound amplifications made each of King’s three deliveries of the ‘I Have a Dream’ speech unique.”—Duke University Press

“Black Disability Politics” by Sami Schalk

Publishing date: October 2022

Sami Schalk, an associate professor of Gender & Women’s Studies at the University of Wisconsin, writes about the history of Black disability politics, giving a deeply important view on the fight for the rights of disabled Black people in America since the 1970s.

“She points out that this work has not been recognized as part of the legacy of disability justice and liberation because Black disability politics differ in language and approach from the mainstream white-dominant disability rights movement. Drawing on the archives of the Black Panther Party and the National Black Women’s Health Project alongside interviews with contemporary Black

disabled cultural workers, Schalk identifies common qualities of Black disability politics, including the need to ground public health initiatives in the experience and expertise of marginalized disabled people so that they can work in antiracist, feminist, and anti-ableist ways.”—Duke University Press compiles a collection of writing by Black jazz critics in “Ain’t But a Few of Us.” The book gives voice and recognition to contemporary and historical Black jazz journalists and critics who traverse through the white male dominat-

ed field of jazz criticism.

“No major mainstream jazz publication has ever had a Black editor or publisher. ‘Ain’t But a Few of Us’ presents over two dozen candid dialogues with Black jazz critics and journalists ranging from Greg Tate, Farah Jasmine Griffin, and Robin D. G. Kelly to tend with the world of jazz writing dominated by white men, and point out that these racial disparities are not confined to jazz and hamper their efforts at writing about other music genres as well. ‘Ain’t But a Few of Us’ also includes

an anthology section, which reprints classic essays and articles from Black writers and musicians like LeRoi Jones, Archie Shepp, A.B. Spellman, Herbie Nichols, Greg Tate, and others.”—Duke University Press

“New Growth: The Art and Texture of Black Hair”

Publishing date: December 2022

Jasmine Nichole Cobb, a professor of African and African American Studies, Art History and Visual Studies at Duke University, writes a historical examination of the maintenance, style and beauty of Black hair.

“In ‘New Growth’ Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustration, documentary film and photography, as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile.”—Duke University Press

Joshua Henry and Gavin Creel as the Princes in “Into the Woods” Patina Miller as the Witch in “Into the Woods” (Photos by Matt Murphy and Evan Zimmerman for MurphyMade)

By LINDA ARMSTRONG Special to the AmNews

The revival of Stephen Sondheim’s “Into the Woods” at the St. James Theatre is just what Broadway needed! This delightful musical with music and lyrics by the late, great Sondheim and a book by James Lapine, choreography by Lorin Latarro, music direction by Rob Berman and direction by Lear DeBessonet, takes many of the children’s stories we knew, but takes them to a different level. You see characters like Cinderella, her evil Stepmother and two Wicked Stepsisters, the Baker and his Wife who desperately want to have a child, the Witch who has cursed them, and Jack and his mother who are poor and have to sell the family cow Milky White for money. You have two Princes, one from the Ball that Cinderella attends and the other taken with the beauty of Rapunzel, a fair maiden with long hair in a high tower.

This revival is phenomenal! Every song is a showstopper, and the cast has some of the most radiant, beautifully toned and tremendously captivating voices you will hear in a Broadway theater. Everyone brings their A game and what’s also great about it, is they all seem to be having a great time on the stage. I know everyone in the audience was having a blast! “Into the Woods” is hilarious as well, especially songs and interactions between the two princes referred to as Cinderella’s Prince and Rapunzel’s Prince and of course the Wolf, played by the same actor as Cinderella’s Prince, is both funny and delightful.

Speaking of fairytales, this is a dream of a cast! Patina Miller plays the Witch and Patina is PERFECT. She has a stunningly beautiful voice. Miller is mesmerizing as she weaves her way through the numerous emotions that the Witch feels. When she sings “Stay With Me” you are actually moved to tears. Sara Bareilles is completely sublime as the Baker’s Wife. She has a lovely voice and some great comedic timing. Brian D’Arcy James is brilliant as the Baker. He is one musical theater actor who always comes to the party fully ready, willing and able to make his role memorable. I love any time he is cast in a musical. He’s marvelous! Gavin Creel plays Cinderella’s Prince and the Wolf and he is beyond amazing! Scenes between him and Joshua Henry, who plays Rapunzel’s Prince, are absolutely hilarious! They are over-dramatic to the point of hilarity. Every time they came on stage, they had the crowd going wild. Their gestures, facial expressions, and everything about their performances screamed “funny and ridiculous.” “Agony” was over-the-top hilarious! Musical comedy doesn’t get better than that delightful song. One of the exciting aspects of going to see a revival is when you see fresh, new talent get their chance to shine and that is exactly what is happening here, as two young actors are making very splendid Broadway debuts: Julia Lester is hilarious and adorable as Little Red Ridinghood and Cole Thompson is absolutely charming, sweet and funny as Jack. These two young people are definitely going places and where they go, I definitely want to be! Phillipa Soo is marvelous as Cinderella; Alysia Velez is maddeningly beautiful and sympathetic as Rapunzel; David Patrick Kelly plays two roles with such distinction and flair as story Narrator and Mysterious Man; Aymee Garcia is great as Jack’s Mother—she is funny and sympathetic as she tries to teach her slow-minded son about life. Nancy Opel is wonderful as Cinderella’s Stepmother. Ta’nika Gibson and Brooke Ishibashi are amusing as Cinderella’s Stepsisters—Lucinda and Florinda, David Turner was funny as the Steward, and Albert Guerzon was fine as Cinderella’s Father. Milky White the cow is a puppet and Cameron Johnson brought her to life at the performance I attended, a role that normally belongs to Kennedy Kanagawa. The role of Milky White was absolutely adorable as the cow cried, mooed, and ran a gamut of emotions.

This musical is Sondheim’s work at its BEST! And it’s great for the entire family!

Make plans to go and be swept away to “Into the Woods,” playing at the St. James Theatre on W. 44th Street. For more info, visit www.intothewoodsbway.com.