Friday, December 16, 2016

Two Poets on Syria: Dr. Mohja Kahf and Marvin X





Syrian poet, novelist, professor Mohja Kahf and poet Marvin X at the  University of Arkansas, Fayettevile where she teaches English and Islamic literature. She considers Marvin X the father of Muslim American literature. 

Saturday, September 7, 2013


Two Poems for Syria 

by Marvin X and Mohja Kahf







Oh, Mohja
how much water can run from rivers to sea
how much blood can soak the earth
the guns of tyrants know no end
a people awakened are bigger than bullets
there is no sleep in their eyes
no more stunted backs and fear of broken limbs
even men, women and children are humble with sacrifice
the old the young play their roles
with smiles they endure torture chambers
with laughs they submit to rape and mutilations
there is no victory for oppressors
whose days are numbered
as the clock ticks as the sun rises
let the people continue til victory
surely they smell it on their hands
taste it on lips
believe it in their hearts
know it in their minds
no more backwardness no fear
let there be resistance til victory.
--Marvin X/El Muhajir







Syrian poet/professor Dr. Mohja Kahf





Oh Marvin, how much blood can soak the earth?


The angels asked, “will you create a species who will shed blood


and overrun the earth with evil?” 


And it turns out “rivers of blood” is no metaphor: 




 

































see the stones of narrow alleys in Duma


shiny with blood hissing from humans? Dark


and dazzling, it keeps pouring and pumping


from the inexhaustible soft flesh of Syrians,


and neither regime cluster bombs from the air,


nor rebel car bombs on the ground,


ask them their names before they die. 


They are mowed down like wheat harvested by machine,


and every stalk has seven ears, and every ear a hundred grains.


They bleed like irrigation canals into the earth.


Even one little girl in Idlib with a carotid artery cut


becomes a river of blood. Who knew she could be a river 


running all the way over the ocean, to you,


draining me of my heart? And God said to the angels, 


“I know what you know not.” But right now,


the angels seem right. Cut the coyness, God;


learn the names of all the Syrians.


See what your species has done.


--Mohja Kahf    

     
Marvin X on Sectarianism 
 
Marvin X
Black Arts Movement poet
photo
Gene Hazzard
 
Sectarianism has been known to spark religious violence throughout history. For many years we saw the ugly head of sectarianism in the struggle between Catholics and Protestants in Ireland, the constant bombings and killings.
In Africa violence between Muslims and Christians in Nigeria has approached genocide. Iraq is the latest hot spot of sectarian violence between Sunni and Shia Muslims. For decades the Shia had been oppressed by the Sunni minority, especially during the regime of Saddam Hussein. When he was overthrown by the US and the Shia majority took political power, naturally the Sunnis were resentful, no one likes to lose power and privilege. Because many Sunnis look upon Shia as heretics, this justifies their sectarian cleansing, even though there has been Sunni/Shia harmony, including marriages throughout the years, but presently there is migration of Shias from Sunni neighborhoods and towns and visa versa. Very little of the refugee plight has made news. 
Of course the US is the cause when she installed the Shia majority, even though majority should rule, we are taught in American Democracy 101. But the resulting violence was predictable and much of it could have been prevented if the Americans had not been the "peacemakers."
Now the violence is being instigated by the insurgents who are directing their wrath against the Shia as well as the Americans. And naturally the Shia are taking revenge since they have political and military power, including their own militias integrated into the army and police but loyal to their sect leaders and imams.
We must see the Sunni violence against the Shia in the broader picture of regional politics. The Sunni regimes in Saudia Arabia, Egypt, Jordan, Sudan, the Gulf States and elsewhere have no desire to see a Shia government in Iraq, however loosely allied it may be with Shia Iran. The Sunni governments have stated their opposition to a Shia expansion from the Tigris/Euphrates to the Mediterranean, uniting with the populations of Shia in Syria and Lebanon where the Hezbollah fighters are a political and military force supported by Iran.
Have no doubt that the regional Sunni regimes support the insurgency in Iraq. These regimes would rather have their young men leaving their nations to commit suicide in Iraq rather than be part of the opposition within their authoritarian regimes. Better their sons fight the infidel Americans and heretic Shia. 
Of course the historical dispute between the Sunni and Shia began in 632AD upon the death of prophet Muhammad (PBUH). Thus this Sunni/Shia conflict is much more outstanding than colonialism, including the neo-colonial Americans. There is no hatred like religious hatred. We can see that violence between Sunnis and Shia has surpassed that between Sunnis and the Christian Americans, supposedly the enemy of all Muslims. For sure, Americans were the catalyst, but the roots of the present sectarian violence began over succession to the prophet Muhammad (PBUH). 
The Sunnis said the successor should be selected from among the people, Abu Bakr. The Shia said it should be from the prophet's bloodline, Ali. The Sunnis won out and labeled the Shia heretics, especially when they elevated the status of Imam Ali and future Shia Imams to the level of the Caliphs or rulers after the prophet, including veneration of their tombs in various Shia holy cities such as Qum in Iran, Najaf and Karbala in Iraq. Several Shia imams were assassinated, including Ali and Hussein.
There are major Shia rituals that celebrate the martyrdom of their imams. The Shia feeling of lost is similar to the feeling of lost among Sunni Muslims in America about Malcolm X allegedly being assassinated by the Nation of Islam. This feeling of lost is shared by much of the African American community. 
Malcolm's death caused a great division that has yet to heal and may never heal, despite the unifying efforts of Farakhan with his Million Man Marches and other efforts.
Perhaps we can understand the Sunni/Shia struggle from this perspective. There are some Blacks who hate other Blacks as a result of the Malcolm X affair more than they hate the white man for all his centuries of evil and wickedness against Blacks. For the US government's role in the Malcolm affairand have no doubt about their involvement, they benefited by divide and conquer, that classic Willie Lynch slave master tricknology.
Sectarian violence in Iraq may continue unabated, for it is beyond civil war, beyond American occupation, but deeply rooted in religiosity, myth and ritual. Even Sunni fear of Shia regional expansion is rooted in Shia eschatology or end time. This is evident in pronouncements from the Shia regime in Iran, boldly determined to pursue a nuclear weapons future and calling for the destruction of Israel, motivated by their belief the time has arrived for Shia geo-political and spiritual domination, and certainly Iraq will play a role in this Shia myth-ritual drama.
This drama has implications far beyond any American notion of installing democracy in Iraq or anywhere else in the region, for people are motivated by mythology and prophecy, political aspirations being secondary. It is their spiritual aspirations that are primary. Shia Iran appears prepared to commit mass suicide challenging the Americans and Europeans over nuclear technology, even though the Iranians have every right to posses the Islamic bomb, just as we have the Jewish bomb and the Christian bomb. I say get rid of all the nuclear weapons or level the playing field as in the wild wild west: let everybody pack.
As per Iraq, it doesn't matter whether the Americans stay or go, they have opened Pandora's box and mean spirits are blowing in the desert winds. Only Allah knows how these issues will be resolved. Perhaps the Sunnis and Shias shall fight until they tire of killing, then reconcile in the manner of Isaiah, "Let us reason together."
Source: Beyond Religion, Toward Spirituality, Black Bird Press, 2007  (c) 2006 by Marvin X (El Muhajir)
*   *   *   *   *
Marvin X has given permission to Harvard University to publish his poem "For El Haji Rasul Taifa" from Love and War: Poems by Marvin X (1995). The poem will appear in The Encyclopedia of Islam in America Volume II, Greenwood Press, edited by Dr. Jocelyne Cesari of Harvard's Islam in the West Program. Mr. X is co-editor of the forthcoming anthology Muslim American Literature, University of Arkansas Press, edited by Dr. Mojah Khaf. He is also in the forthcoming Muslim American Drama, Temple University.
from Chickenbones, posted 19 June 2006

Wednesday, December 14, 2016

From the archives of Marvin X: For the Warriors and other poems from Liberation Poems for North American Africans, 1983



For the Warriors


I have seen the best warriors of my generation
starved into submissions
exiled into loneliness capitulation
imprisoned assassination
seeking only the American dream
not Moscow Peking Havana
American dream








lonely warriors of forgotten causes
who did not enrich themselves
in the proper bourgeoisie manner
property stocks bonds
lonely warriors
unknown and known
some filled tv radio newspapers
night after night
standing tall against injustice
standing with honesty sacrifice
unselfish unconditional love for the people
naive to the  insincere
naive to the opportunist
naive to the pseudo intellectual
but sacrificing always
for the cause
eternal cause
that in time
blew their minds.

Now they see ghosts
Jesus Christ in the moon
left thinking right thinking
gone for sure
focus shattered
what can we do in this state
who will follow who will listen

you were our hero you were our hope
now you see ghosts
Jesus in the moon
and we are afraid
for there are no ghosts
no Jesus in the moon.
--Marvin X


Beat Ya Boss African


Beat ya boss African
are yr brave enough
why beat ya woman
she yo exploiter
oppressor
beat kya boss African
don't beat the field produce yo nation
beat yo boss African
don't beat yo wife
don't beat yo brother
beat yo boss
he pimpin ya ta death
got ya workin
30 yrs fa gold watch
don't work
beat ya boss African
he's the real motherfucker
fucked ya moma
beat ya boss African

He Was

He was a rolls royce negro
without a rolls royce 
economic negro
no economic plan
political negro
no political machine
bible toting negro
didn't read the bible
phd negro
couldn't write his name
international negro
didn't have a nation
pan african negro
wouldn't live in africa
islamic negro
refused to jihad
romantic negro
hated romance
negro leader
refused to lead
he was negro
black man
afro
african
afrikan
nubian
bilalian
jamaican
american
now he's........
--Marvin X

Fleeta Drumgo, San Quentin Brother

Fletta Fleeta
died at my doorstep
San Quentin Brother
broken warrior
I heard the shot that brought you low
Fleeta
 I saw them get into their car
police types
I saw them from my window
was  it drugs or revolution Fleeta
police came to my door
refused to answer
didn't know it was you
they killed that day
didn't know it was you
head they'd blown away
Fleeta
when the police knocked
I thought it was set up
more dirty tricks

I remember the last time you called Fleeta
you called but never came
we went to the airport for you
but you never came
except the final day
dreadful day
at my doorstep.
--Marvin X
 

 
Progressive Woman

Come my comrade
whisper in my ear
liberation of Pan Africa
so proud of you
revolutionary woman
fight on until victory
so nice to see
you haven't given up
gone back to sleep
fight on my sister my comrade
we may not agree on ideology, tactics strategy 
at least you're alive
to facades of this world
you want something new
a new order for people who won't surrender
in fear trembling
fight on my sister my comrade.
--Marvin X 


 Amina and Amira Baraka. We highly suspect the child in
Amina's arm is Ras Baraka, now mayor of Newark, NJ.

 Nellie and T. Monk

Round Midnight

Monk's gone
I ain't blue
Monk's gone
I ain't blue
where he's gone
I'm goin too

Death is always round
tryin to steal life
death is always round
trying to steal life
if it don't get the husband
it'll get the wife.

Monk's gone
I ain't blue
Monk's gone
 I ain't blue.
--Marvin X

 I'll Walk Alone

This road
I'll walk alone
men of fear 
cannot walk this road
I'll walk alone
there is no gratitude down this road
no thanks
I'll walk alone
men who see mirages
cannot walk this road
men whose wives and children 
are dearer to them than Allah
cannot walk this road
men who cry who snibble
who take evidence to Pharaoh
cannot walk this road
I'll walk alone.
--Marvin X


Letter to my lover

You hate me because I am a revolutionary
I did not ask to be a revolutionary
revolution chose me
you say you love me
because I am a man
but I am a man because I am a revolutionary
I want suffering to end
want the bloodsuckers of the poor to exit!

It is not my choice to be a revolutionary
hunted wanted watched betrayed
I am from a long line of men and women
who dare to think speak act.
Love me or leave me
I am a revolutionary!
Liberty or death!

Marvin X poem: When you have seen the corruption of city hall, from Liberation Poems for North American Africans, 1983

 

When you have seen the corruption of city hall
when you have watched it month after month
year after year
when you attend city council meetings
hear the rip off talk
recycled rhetoric from The Prince
when you see apathy
walking streets
beating tin cans
when you see destruction of revolution by political perversion
alcohol crack religion wife beating rape
when you see the corruption of city hall
when you see the people's hopes drowned in false contracts
false wages false loans false  trips false votes
when you see for my friends only
for my bankers
for my developers
for my brothers in ritual and myth
let the others eat cheese
let them starve
scum don't matter
City Hall
Allah came to save the poor
save the ignorant
save the blind hungry broken hearted
whom do you serve
Who sent you?
Did you forget the consent of the governed?
--Marvin X
from Liberation Poems for North American Africans, Black Bird Press, 1983

Marvin X/El Muhajir
Poet, playwright, philosopher, planner, co-founder of the National Black Arts Movement,
publisher of the The Movement, Newspaper of the BAM/BAMBD 
Now available for speaking/reading coast to coast: mxjackmon@gmail.com

BAMBD will celebrate JANTEENTH, 2017, one year after the City of Oakland established the district, but nobody knows the trouble BAMBD has seen!


 JANTEENTH,  2017

Cover of The Movement, JANTEENTH issue (January 19, 2017)
Maestro Michael Morgan, Oakland Symphony Orchestra
BAMBD Art by James Gayles

Because of political sloth, North American Africans in Oakland are just now hearing they have a Black Arts Movement Business District along the 14th Street corridor, downtown Oakland. The district was officially declared by the Oakland City Council almost one year ago, January 19, 2916, but few people know about it and BAMBD has received no support from the City; no funds have been allocated, no technical support has been given, no media blitz, no celebration, no banners, no vendors on the street.

From time to time we hear tales from the eloquent politician representing our district. We heard she was giving technical support to the Uptown District where the hipsters congregate. We wonder what rite of passage informed her she should totally neglect the BAMBD to assist another district?

Juneteenth happened because the whites in Texas wanted to continue slavery. We hope our eloquent politician doesn't feel the same, but there is a history of Black slave masters who resisted emancipation.

In spite of sloth, Janteenth will be celebrated on January 19, 2017. We will have a Marcus Garvey syle parade along the 14th Street corridor with vendors, music and speakers in Oscar Grant Plaza.

If you are willing to participate  and/or support BAMBD's JANTEENTH Celebration, email: bambdistrict@gmail.com

From the Archives of Marvin X: Liberation Poems for North American Africans, 1983


j


The News Ain't News, Ain't Nothin but the Blues

The news ain't news
ain't nothin but the blues
flash
Africa
flash
Asia
flash
Americas
bang bang
flash
inflation up
inflation down
Now a word from your president
American people
prosperity is just around the corner
soon a chicken in every pot
flash
bang bang
the president has been shot
the president has been shot
hurry rush him to the hospital
stay turned
we'll be right back
after a word from our sponsor
flash
stock report
wall street week in review
stocks down
due to budget crisis
flash
falkland islands
el salvador
hondura
guatemala
fillmore harlem liberty city detroit south side
occupied palestine
jews shoot five year old boy
throwing stones at tank
flash
jim jones takes one thousand negroes to heaven with Kool Aid
flash
disco gone
donna summers got the holy ghost
flash
jeffersons happy negroes
smiling all the way to the gas chamber
ha ha ha
flash
news ain't news
ain't nothin but the blues
when I want news
Bob Marley
Billie Holiday
Monk
Sonny Stitt
When I want the news
News ain't nothing but the4 blues
10 million unemployed
they talk about the budget
the budget the budget
Will B.A. nigguh revolt
M.A. nigguh revolt
PhD nigguh revolt
preacher revolt
watch out grass roots
don't be used by democrats
don't be their cannon fodder 
don't be their way back to the white house
don't be used by communists
moscow is not your mecca
take leaders from among yourselves
protect them
with guns
dare anyone to touch them
you will be successful
news ain't news
ain't nothin but the blues
flash
punk rockers shit on white house lawn
flash
nixon was drunk after five
reagan drunk after six
haig drunk all day long
flash
barbara walters interviews sada in his tomb
flash
hey stay tuned
we'll be right back
with a special message
don't change the dial
get your popcorn and beer
flash.....
--Marvin X

Tuesday, December 13, 2016

Sunday, December 18: African Diaspora Bazaar and Crafts Fair, Humanist Hall, 27th off Broadway

An Open Letter to Fellow Minority Journalists


An Open Letter to Fellow Minority Journalists

 



Over the next year or two, media — especially prestige print media — will begin thinning out its ranks. The economic forecast, despite temporary spikes in post-election subscriptions, is not good and headcount spots will have to be cleared to make room for all the incoming pro-Trump takes. “Identity politics writers” (read: anyone who isn’t white and who doesn’t spend 99% of their time reporting) will almost certainly be the first to go.
In reality, this is just a self-correction on the part of prestige print media. As early as three years ago, the entire senior editorial staff of the New Yorker magazine was white (the web, where I worked for a short stint in 2014, was slightly more diverse. I even sat next to a minority, which was a first for me in my publishing career.). Their assistants, save one, were white. The same, I believe, was more or less true of New York and the New York Times Magazine, where I, full disclosure, am a writer-at-large. Those places, of course, employed a small number of minority writers, but the power structure was always controlled by the same types of people.
After Ferguson, I remember being in meetings for the web team at The New Yorker where it became painfully obvious to everyone in the room that we simply did not have a writer to tackle the massive change that was happening in the country. Good hires were made and over the next two years, the magazine and web (mostly the web) brought on almost a dozen new minority writers and editors. This, even when I worked there in 2014, would have been a completely absurd scenario. Back then, me and one of the only other minorities on the 20th floor of the old Conde Nast building would have to routinely schedule lunches just so we could vent about the totemic whiteness of the place we had dreamt of working our entire lives. If you look at the employee rolls of all these prestige print and web outlets, you’ll see the same, exact pattern of hiring over the past two years. I used to think this changing of demographics in prestige places could lead to a new era of enlightened and forceful publishing. I am no longer so optimistic.
I bring this up because I think it’s important that minority writers (I have decided to stop using “people of color” for reasons I might explain later, but mostly because it feels a bit too cheery in Trump’s America) be honest with ourselves. Many of us were hired in the last two years and almost every single one of us reports to a white editor who will kowtow to the panic of his or her publisher. Too many of us were brought into media as part of a cynical push to turn “race writing,” especially race writing about pop culture, into a click factory (Or, perhaps, more tellingly, to satisfy the guilt of white editors who finally looked around and realized that their liberal values were in direct conflict with the optics of their workplace.). The media companies who clap themselves on the back because they have an “authentic voice” writing about Beyoncé or the VMAs did not make a real commitment to diversity. Instead, they put forward poorly paid “fellowships” or meager web contracts that require no investment on their part. They, in large part, do not give out reporting assignments that might build up skills that could translate into long careers. The sort of work they do have so many of us do — “woke” pop culture writing — will only last as long as it drives the wan, asymmetrical glow of Media Twitter.
The real path to success as a journalist still remains the same: Have enough independent wealth so that you can take an unpaid internship or a $35,000 year job as an editorial assistant or fact-checker at a prestigious place and then work the office politics game (read: know how to work a room of Ivy League graduates) to the top. In five or ten or fifteen years, the network you build up during those early years will occupy the highest spots in media and they will bring you into the power structure.
This same media has sprayed its panicked guts all over the walls in the weeks following the election, but it will eventually settle down into what these prestige journalistic outlets have always been — center-right, bourgeois takes read by lawyers on planes. And since the majority of lawyers on planes aren’t joining up with ‘the resistance’ (whatever the fuck that means), editors and publishers will start hiring alt-Tucker Carlsons so they can hear both sides. They will need to clear headcount spots to do this and they will quietly start purging the same writers they hired so enthusiastically — with rousing rounds of Tweet applause — two years ago.
They will do this while knowing that the Democratic presidential candidate won the popular vote by almost three million votes despite catastrophically myopic campaign strategy. They will do this while knowing that anyone hired to be a “pro-Trump journalist” will, by the edict of his or her title, feel the need to defend the President’s patently false tweets and his attacks on reporters. They will do this while sitting on bloated, absurd panels where they will tell young writers that the only job of the journalist is to “speak truth to power.” They will do this while still tweeting the same virtue signaling garbage they tweeted out over the past two years, while still convincing themselves that every other media outlet is bad except their media outlet. The tyranny of “good enough” (the way these prestige media outlets stayed so white in the past was to say, more or less, that anyone who could touch a word of copy had to be “good enough,” a standard, of course, that only meant “good in the same way that I am good”) will be restored.
This is the uncomfortable truth we face. But over my relatively short career, I have met so many wildly talented and generous and serious minority journalists who have provided me with emotional and spiritual support that I will never be able to repay. These relationships are still there. The talent is still there. The audience for our work is still there. What’s changed is where we will publish that work and the spaces in which we will foster new friendships and rivalries.
We, the like-minded who believe that there is value in the cliché of speaking truth to power and value a progressive coalition over careerism, have to start building our own shit.

Sunday, December 11, 2016

Oakland Symphony honors the Black Panther Party at sold-out Paramount Theatre concert

Maestro Michael Morgan, Oakland Symphony Conductor
art by James Gayles

In a sold-out concert at the elegant Paramount Theatre, Conductor Michael Morgan and the Oakland Symphony paid tribute to the Black Panther Party on its 50th Anniversary. Near the end of the concert and before the orchestra performed its last number STAND, Maestro Morgan had BPP members stand. We recognized Huey Newton's widow, Fredrika Newton, Tarika Lewis, Billy X. Jennings, Majeeda Rahman, Elaine Brown, Terry Cotton and Melvin Dickson. Morgan said if it wasn't for the BPP, he would not be conducting the Oakland Symphony. For sure, there was resistance from the Oakland Symphony Board to Michael's intention to honor the BPP with a concert. Michael was adamant, "If I can't honor the BPP with a concert, I'm outta here!" Obviously, he overcame board resistance. Next year he will do a concert honoring America's indigenous peoples.

 Oakland Symphony Orchestra and choirs performing tribute to the Black Panther Party, Paramount Theatre, Oakland CA 12/11/16
photo Marvin X


The Oakland Symphony and Chorus shared the stage with a host of guest artists including the award-winning Mt. Eden High School Choir, Terrence Elliot's Oakland Interfaith Gospel Choir, Linda Tillery and Friends, Vocal Rush from Oakland School of the Arts and perennial favorites, the ebullient Klezmer band, Kugelplex.


The groups performed music from the Black Panther era and even before when they did Sly Stone's Everyday People. Other tunes included Marvin Gaye's classic What's Goin On, Sam Cook's A Change is Gonna Come and a Jewish resistance song sung by Linda Tillery in Yiddish, once sang by the great artistic freedom fighter, ancestor Paul Robeson.

The Maestro could have utilized a Black choir but chose not to do so, since the majority audience was white. We know white people find strong Black music slightly overwhelming, so the choirs were great but for us slightly Miller Lite. This is not to say whites can't approach the intensity of Black singing. One need only attend San Francisco's Glide Memorial Church any Sunday to find whites singing as powerfully as Blacks. We recognized one of  Glide's members departing the concert, the Honorable Judge Baranco. Also present was Oakland's Master Athletic coach, Benny Tapscott, who requested BlackPanther Party members attend a meeting at the West Oakland Senior Center across from Bobby Hutton Park, Monday, December 12, 5PM. Spread the word.

Overall, it was a great tribute to the Black Panther Party for the sacrifice they made in the name of social justice. The song in Yiddish was a reminder of the blood Jews and North American Africans have shed in their respective holocausts.

--Marvin X, Publisher, The Movement, Voice of the Black Arts Movement International
12/11/16


Readers wanting to download the print version of the December edition of The Movement. December 2016 - The Movement Newspaper

Friday, December 9, 2016

BAMBD and Community meet on benefits package with developers Carmel


 photo Standing Rock, The Movement News
 

The Black Arts Movement Business District held the first round of negotiations with the Carmel Group, developers of the parking  garage at 14th and Franklin in the BAMBD, downtown Oakland. The conversation included representatives of non-profit groups and business persons in the  BAMBD: the Lower Bottom Playaz, Betti Ono Gallery, Joyce Gordon Gallery, Academy of da Corner, BAOBAB, Regina's Corner, Malonga Cultrural Center, Eastside Arts and the Ghost Ship.


 photo Standing Rock, The Movement News

BAMBD lead planners, Dr. Ayodele Nzinga, Eric Arnold and Marvin X represented the views and concerns of  BAMBD which included low income housing and retail space, parking, jobs and job training, impact on rents and other issues.
 
 photo Standing Rock, The Movement News

It was a very amicable meeting without the hostility that usually exists between developers and the community. When BAMBD planner Marvin X asked if Carmel would consider BAMBD as an investment partner for a low income housing component to their project, the developers said absolutely they would consider such a proposal, along with other adjustments to their design plans. BAMBD's architectural consultant, Fred Smith was present and will meet with BAMBD at the earliest to draft BAMBD's design changes. for submission to Carmel. As per funds for low-income housing, a BAMBD board member recently met with Dr. Ben Carson, incoming Secretary of Housing and Urban Affairs. BAMBD recently obtained support from persons associated with another developer for BAMBD's Billion Dollar Trust Fund.
"I absolutely want to help BAMBD establish the BAMBD Billion Dollar Trust Fund,"  said the unidentified supporter.


l

BAMBD board member, Conway Jones, Jr., and incoming Secretary of Housing and Urban 
Development, Dr. Ben Carson

Thursday, December 8, 2016

Homegoing, a novel by Yaa Gyasi

 
The unforgettable New York Times best seller begins with the story of two half-sisters, separated by forces beyond their control: one sold into slavery, the other married to a British slaver. Written with tremendous sweep and power, Homegoing traces the generations of family who follow, as their destinies lead them through two continents and three hundred years of history, each life indeliably drawn, as the legacy of slavery is fully revealed in light of the present day.

Effia and Esi are born into different villages in eighteenth-century Ghana. Effia is married off to an Englishman and lives in comfort in the palatial rooms of Cape Coast Castle. Unbeknownst to Effia, her sister, Esi, is imprisoned beneath her in the castle’s dungeons, sold with thousands of others into the Gold Coast’s booming slave trade, and shipped off to America, where her children and grandchildren will be raised in slavery. One thread of Homegoing follows Effia’s descendants through centuries of warfare in Ghana, as the Fante and Asante nations wrestle with the slave trade and British colonization. The other thread follows Esi and her children into America. From the plantations of the South to the Civil War and the Great Migration, from the coal mines of Pratt City, Alabama, to the jazz clubs and dope houses of twentieth-century Harlem, right up through the present day, Homegoing makes history visceral, and captures, with singular and stunning immediacy, how the memory of captivity came to be inscribed in the soul of a nation.