Search results for ""Author Yuval Taylor""

Novelist Zora Neale Hurston and poet Langston Hughes, two of America’s greatest writers, first met in New York City in 1925. Drawn to each other, they launched a radical journal. Later, meeting by accident in Alabama, they became close as they travelled together—Hurston interviewing African Americans for folk stories, Hughes getting his first taste of the deep South. By illuminating their lives, work, competitiveness and ambitions, Yuval Taylor savvily explores how their friendship and literary collaborations would end in acrimonious accusations.

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Zora Neale Hurston (Their Eyes Were Watching God) and Langston Hughes (“The Negro Speaks of Rivers”, “Let America Be America Again”) were collaborators, literary gadflies and close companions. They travelled together in Hurston’s dilapidated car through the rural southern US collecting folklore, worked on the play Mule Bone and wrote scores of loving letters to each other. They even had the same patron: Charlotte Osgood Mason, a wealthy white woman who insisted on being called “Godmother”. Paying them lavishly while trying to control their work, Mason may have been the spark for their bitter falling-out. Yuval Taylor answers questions about their split while illuminating Hurston’s and Hughes’s lives, work, competitiveness and ambition.

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Ten slaves—all under the age of 19—tell stories of enslavement, brutality, and dreams of freedom in this collection culled from full-length autobiographies. These accounts, selected to help teenagers relate to the horrific experiences of slaves their own age living in the not-so-distant past, include stories of young slaves torn from their mothers and families, suffering from starvation, and being whipped and tortured. But these are not all tales of deprivation and violence; teenagers will relate to accounts of slaves challenging authority, playing games, telling jokes, and falling in love. These stories cover the range of the slave experience, from the passage in slave ships across the Atlantic—and daily life as a slave both on large plantations and in small-city dwellings—to escaping slavery and fighting in the Civil War. The writings of Olaudah Equiano, Frederick Douglass, William Wells Brown, Harriet Jacobs, Elizabeth Keckley, and other lesser-known slaves are included.

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Between 1760 and 1902, more than 200 book-length autobiographies of ex-slaves were published; together they form the basis for all subsequent African American literature. I Was Born a Slave collects the 20 most significant “slave narratives.” They describe whippings, torture, starvation, resistance, and hairbreadth escapes; slave auctions, kidnappings, and murders; sexual abuse, religious confusion, the struggle of learning to read and write; and the triumphs and difficulties of life as free men and women. Many of the narratives—such as those of Frederick Douglass and Harriet Jacobs—have achieved reputations as masterpieces; but some of the lesser-known narratives are equally brilliant. This unprecedented anthology presents them unabridged, providing each one with helpful introductions and annotations, to form the most comprehensive volume ever assembled on the lives and writings of the slaves.Volume One (1770-1849) includes the narratives of James Albert Ukawsaw Gronniosaw, Olaudah Equiano (Gustavus Vassa), William Grimes, Nat Turner, Charles Ball, Moses Roper, Frederick Douglass, Lewis & Milton Clarke, William Wells Brown, and Josiah Henson.

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Did Elvis sing from the heart, or was he just acting? Were the Sex Pistols more real than disco? Why do so many musicians base their approach on being authentic, and why do music buffs fall for it every time? By investigating this obsession in the last century through the stories of John Lennon, Kurt Cobain, Jimmie Rodgers, Donna Summer, Leadbelly, Neil Young, Moby, and others, Faking It rethinks what makes popular music work. Along the way, the authors discuss the segregation of music in the South, investigate the predominance of self-absorption in modern pop, reassess the rebellious ridiculousness of rockabilly and disco, and delineate how the quest for authenticity has not only made some music great and some music terrible but also shaped in a fundamental way the development of popular music in our time.

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