This book is a mixture of biography and collected works of Richard Bruce Nugent, the most openly gay writer of the Harlem Renaissance. His 1920s story, "Smoke, Lillies and Jade" has been called the first African-American fictional account regarding homosexuality. The book also includes many photos of Nugent and his gay peers as well as Nugent's artwork.

The book is divided into five sections, emphasizing Nugent's fictional and non-fictional work. However, the best part of the book is the historical introduction; it should have been highlighted somehow. This book is a veritable "Who's Who?" of the Gay Harlem Renaissance. Unfortunately, this excellent documentation of the numerous gay Black authors writing in the early 20th century leaves the impression that little is known about Nugent or little is worth saying. Still, I found myself wanting to read every footnote because they show how much material is out there that has yet to be reviewed scholastically. Heads up, gay studies graduate students!

Though the excerpts of Nugent's writings span a fifty-year period, the grand majority of it comes from the 1930s. Nugent, in "Smoke" and most other writings, was a blatant cheerleader for the Renaissance. I found his work challenging, though at times incredibly boring. It's admitted that his artwork is faux Erte, but it's implied homoeroticism must truly be relished. Be warned that it's very campy. I applaud Nugent in his continual inclusion of women in his artwork, non-fiction, and fiction. You would never have to worry about him saying some foolishness like "Hated it!" Besides, if I read this correctly, Nugent never went to college, yet his writing is quite sophisticated.

Surprisingly, this book reminds me of Little Richard's biography, even though that was written during one of Richard's homophobic stages. Both Richard and Nugent were/are frequently X-rated in order to get laughs and push the envelope on societal norms. Like Dennis Rodman, Nugent swears that because Blacks rejected him, he only pursued "Latins." This fetishization may really disturb gay Latino and Italian-American readers. But remember: gay whites of the era like E.M. Forster also celebrated "difference" in ways that we would now deem politically incorrect.

Skip Gates' forward is scant, but it does reprove his commitment to an anti-homophobic, African-American scholarship. The biographer is a white gay man "interested" in Black culture. Shockingly, he never cites Eric Garber, the non-Black scholar who was the first in gay studies to report on the gay underpinnings of the Harlem Renaissance. It's a shame too, because many of Garber's insights are still useful, yet they go unacknowledged. Wirth includes a section in which Nugent remembers Carl Van Vecten, the gay white celebrity-maker who promoted the Renaissance. This section is confusing and says little. It somewhat re-centers Van Vechten and feels slightly Eurocentric. Still, the biographer has a Ph.D. in chemistry from CalTech yet he writes like the most sophisticated gay studies Ph.D. I give him much credit.

Finally, this book has been categorized under "racially mixed persons." Though it is mentioned that Nugent had some Native American ancestors, interracial romantic liaisons and passing come up much more often than multiracial identity matters in this text.

All people who want to challenge the idea that gayness is a "white thing" or "recent phenomenon" need to read this book.

Exciting, thorough, and amazingly generous, Wirth brings to life a most beguiling participant in the Harlem Renaissance.

I chose this book because I thought it was a chronicle of stories. Stories of black gay and lesbians, not an analytical outlook on the community. Delroy Constantine-Simms mentions in the introduction that this book was supposed to be an "anthology of Black perspective that was either sympathetic to or antagonistic toward the subject of homosexuality". I wish it was, instead the reader gets several essays that read like textbook stuff.

If you're looking to read thought provoking essays then this is the book to read. You won't, however find comments from those who have a hostile point of view regarding the homosexual community.

Reviewed by Missy

Does Homosexuality remain the greatest taboo in black culture? Is homosexuality a European cultural imposition on Africans? Are you black first or queer? These are the important questions that Delroy Constantine-Simms, the editior of The Greatest Taboo, sets about to answer by compiling twenty-eight essays from such heralded authors as Bell Hooks, Earl Ofari Hutchinson, Seth Clark Silberman, Gregory Conerly, and Gloria Wekker.

The interesting thing about this collection, other than the fact that it is long overdue, is that it examines homosexuality in both men and women are far back as slavery times. If one is a fan of non-fiction, thought-provoking reading, then The Greatest Taboo is definitely one for the collection. There has long been a stigma surrounding homosexuality, mostly from those who fear something they cannot understand. I think this is an important book for everyone to read and I highly recommend it.

Zane, RAW Reviewer

One of the most complete general works on African Art and well worth purchasing for detailed information on the variation in art form, tribe, country and art style in Africa. Almost full tribal location information and regionalised art details makes this book a must for the serious collector and student on the subject. From early Egyptian to more recent times, it is a book you have to read several times to understand that no one can ever know the true depth and complexity within the African Art world. A good all round reference book on a much missunderstood and underated art form.

Mark Farley

This book illustrates the daily life of Harlem in the 1920's and 1930's. It gives the reader an examined persective of what it was like to be part of a community struggling to be heard. The photos of the funeral processions were especially heart grabbing! When this exhibit first showed at the Metropoliton Musuem it caused a great controversy. Many of the leaders of civil rights movement thought the photos were displaying black people as subjects not art. There were massive demostrations outside the museum to have it close. Many of the photos are still part of the museum's collection although they are not on display. this book offers great insight into the life of Harlem Renaissance. I also recommend, The Sleeper Wakes Edited by Marcy Knopf and A Renaissance in Harlem by Lionel C Bascom.These books offer additional information on what life was like during the New Negro Movement. A valuable art history lesson for us all.

This is Gates, a Harvard black scholar, opining about multiculturalism debates in the early 90s. It said some useful stuff which may seem a little dated now. For example, he asks why can't all campuses be like Berkeley where there is no racial majority? Well, that question is totally moot post-Proposition 209. As all Harvard black scholars have become recently controversial, this book will be a good intro book for lay readers to see what the controversy is all about. This book is written in a simple fashion that any person should be able to understand. Do not sleep, however! Gates has written many articles and books that only elite readers could understand. Do not believe the lies of the new Harvard president.

Instinctively, most decent people don't like to see anyone singled out and denigrated unfairly. To most, it seems particularly distasteful if the denigration is on the basis of race, gender or (to many, at least) sexual orientation. Yet the authors of this book, all of whom are active in campaigns for equality as well as for civil liberties, see codes on US campuses which prohibit and punish such speech as a threat.... Why?

Their book examines the arguments for and against such codes and the issues that underlie them. Objections to these codes include that :

They are a threat to basic free speech principles. In particular the idea that speech should be protected regardless of its content or viewpoint -- a principle intended to prevent the law from favouring one interest over another.
 
They have a chilling effect on wider discourse. Nadine Strossen points out that : Regardless of how carefully these rules are drafted, they inevitably are vague and unavoidably invest officials with substantial discretion in the enforcement process; thus, such regulations exert a chilling effect on speech beyond their literal bands. (1)
 
They put us on a "slippery slope". Ideas not originally intended to be the subject of the codes will be penalised. Throughout the book examples are given of this happening. Strossen points out that in Britain the "No Platform for racists and fascists" was extended to cover Zionism (whereby its victims included the Israeli ambassador to the UK). (2) In Canada the victims of restrictions of free expression have included the black feminist scholar Bell Hooks, and a gay & lesbian bookshop in Toronto. (3)

Much the same issue was raised from the floor of an LM sponsored conference in London at which one of the authors (Nadine Strossen) spoke; it was pointed out that the UK Public Order Act of 1936, which was ostensibly introduced to control the followers of British Fascist leader Oswald Mosley, had been invoked time and time again to ban demonstrations by leftists and trade unionists. Similarly, police tactics used against the National Front in the 1980s to prevent their coaches from reaching demonstrations were later employed against striking miners.

The book's authors note that the codes give power to institutions and government. Can we trust them with these new powers? As David Coles, a law professor at Georgetown University, wrote :

...in a democratic society the only speech government is likely to succeed in regulating will be that of the politically marginalised. If an idea is sufficiently popular, a representative government will lack the political wherewithal to supress it, irrespective of the First Amendment. But if an idea is unpopular, the only thing that may protect it from the majority is a strong constitutional norm of content neutrality. (4)

Donald E. Lively questions how new powers will be exercised :

Reliance upon a community to enact and enforce protective regulation when the dominant culture itself has evidenced insensitivity toward the harm for which sanction is sought does not seem well placed. A mentality that trivialises incidents such as those Lawrence relates is likely to house the attitudes that historically have inspired the turning of racially significant legislation against minorities. (5)

But perhaps Ira Glasser puts it best in her introduction to the book :

First, the attempt by minorities of any kind -- racial, political, religious, sexual -- to pass legal restrictions on speech creates a self-constructed trap. It is a trap because politically once you have such restrictions in place the most important questions to ask are: Who is going to enforce them? Who is going to interpret what they mean? Who is going to decide whom to target?
The answer is : those in power. (6)

Another condemnation is that the codes are an exercise in self-indulgency, a trivialisation of real racial imperatives by the pursuit of relatively marginal and debatable concerns....
Donald E. Lively states :

As a method for progress, however, protocolism (1) seriously misreads history and disregards evolving social and economic conditions, (2) is an exercise in manipulating and avoiding racial reality; and (3) represents a serious misallocation of scarce reformist resources. (7)

Speaking of Race, Speaking of Sex doesn't just put the arguments against speech codes -- it also deconstructs the arguments put in their favour. The three most interesting arguments in favour of such codes are, in my view, (1) that racist expression is not about truth or an attempt to persuade and so is not worthy of protection; (2) that racist declarations are in fact group libels; and (3) that racist expression is akin to an assault.

All three arguments are dismissed by the authors. In the first case, Justice Douglas is approvingly quoted :

(A) function of free speech under our system of government is to invite dispute. It may indeed best serve its high purpose when it induces a condition of unrest, creates dissatisfaction with conditions as they are, or even stirs people to anger. Speech is often provocative and challenging. It may strike at prejudices and preconceptions and have unsettling effects as it presses for acceptance of an idea. This is why freedom of speech, though not absolute is nevertheless protected against censorship or punishment, unless shown likely to produce a clear and present danger of a serious substantive evil that rises far above public inconvenience, annoyance or unrest. There is no room under our Constitution for a more restrictive view. For the alternative would lead to standardisation of ideas either by legislatures, courts, or dominant political or community groups. (8)

The second argument -- that racist, sexist or homophobic statements are group libels -- is likewise dismissed. The authors point out that libel involves the publication of information about someone that is both damaging and false. Apart from the obvious fact that group libel doesn't refer to an individual does it fit the definition? Henry Louis Gates Jr. states that it does not. He points out that racist statements may be right or wrong but cannot in many forms be judged true or false. they are often statements of what the individual thinks should be or an expression of feeling. As Gates points out : You cannot libel someone by saying 'I despise you', which seems to be the essential message of most racial epithets. (9)

The last argument -- that such speech represents an assault or words that wound -- is examined, and also dismissed. The authors accept that words can cause harm. Their concern, however, is that no code can be drawn in such a way as to punish only words which stigmatise and dehumanise. They point out that the most harmful forms of racist language are precisely those that combine insult with advocacy -- those that are in short the most political. (10) Attempts to deny that racist speech has a political content also deny that they are part of a larger mechanism of political subordination.

So, can we combat hatred on grounds of race, gender or sexual preference whilst cherishing and nurturing civil liberties? Can we encourage a diversity of thought as well as of population and lifestyle? The answer given by the authors of this book is an emphatic 'yes'. They don't see equality of opportunity and freedom of expression as being at odds. As such, their ideas are refreshing in contrast to the many who seem to have quite unthinkingly accepted that we must sacrifice our freedom on an altar of (faked) equality...

James Weldon Johnson was a man of many firsts. For me, this book was also a first. It was the first time that I had ever sat down with a book and not wanted to get up. I was thoroughly captivated by this fabulous piece of African-American literature.

I thought this book was great. The writing was good and the story was good, and what else can I say? It gives you insight into life. He's a good storyteller.

Johnson's novel travels through various African-American societies (New England, Jacksonville, New York City, the Black Belt) in a story of a mulatto caught between two opposing racial identities. The novel is an epic journey (emotionally and physically) of this African-American, who is light enough to "pass" into the white American dominating the turn-of-the century. The Ex-Coloured Man's personal struggles to reconcile his true private self with his public self in a divided and prejudiced society makes this novel an emotional and enlightening read. Johnson takes up the issue of WEB DuBois's double-consciousness, and gives it life in the form of this ambivalent protagonist.

The female child of a white female outcast and a black freeman, the author gives a detailed account of what it was like being raised by a white family in the pre-Civil War North of the United States (a household where she was abandoned by her mother at 3). This biography gives a general idea of what a Negro's life in the North was like -- and it was not much different from that life of a slave in the South. The mistress of the house was brutal beyond measure, but many of the other family members were reasonably kind (though not kind of enough to put a stop to the abuse), and it makes one shudder to think of what could have happened in a family who had nothing but Negro-haters in it. Still, she recounts how she got a small measure of schooling, and how she eventually became a Christian (something which the lady of the house -- a Christian herself -- opposed) and her eventual marriage. An upsetting story, it is nevertheless of much more value than "Uncle Tom's Cabin" as it was told from the point of view of the victim and not a sympathetic white.

Writing is a cathartic process and Our Nig is the author's attempt to come to terms with her life as a second, no, fourth-class citizen in America. The author is a racially-mixed Black woman. The title reveals a lot. The main character is not called by her name, Frado, she was called "our nig," short for "our nigger." The book gives the reader an idea of the author's relationship to society at that time. The book shows that racism and cruelty was not a Southern experience. And that freedom from slavery did not mean that one was not treated as a slave.

The main character suffers abandonment, rejection, and cruel treatment by the many people who have power over her life. Or do they? She manages to survive many indignities inflicted upon her and leaves a written legacy for us today so that we can understand what life was really like back in the days of extreme ignorance. This story has much value in the same way that the poetry by Phyllis Wheatly and the essays by Frederick Douglas have value. It's a first-hand expression of how those who were oppressed truly felt at that time. While Our Nig is not technically an autobiography, it reveals much of the author's thoughts about herself and those who surrounded her. This is a book to contrast with Uncle Tom's Cabin, a book about slavery, written by Harriet Beecher Stowe who is white. The difference in perspective and the way characters are developed is monumental.

I'm so glad that Henry Louis Gates discovered this writing that was ignored for so many years. The story needed to be told and heard. Reading it, one will have a different version of "Once upon a time in America..."

This work was like a good conversation. A bit pithy and cliched at times, it raises many important issues within the black American diaspora yet does not present any specific solutions. The reader definitely gains the sense that he or she is actually engaged in conversation with Dr. West and the other individual; however, just when the reader is about to put his two cents in, the chapter ends. The conversations with Pat Williams was the most enlightening. I guess, one could perceive the levity of the this work as optimism, a quality that earns the four stars. Definitely, a nightstand piece that preps you for a solution-oriented mind.

In this book sociologist, Cornel West, decided to interview prominent figures in America in order to get their feelings on the future of black America. In this book West interviews Maya Angleou, Harry Belafonte, and Bill Bradley just to name a few. West deals with all aspects of black culture. He deals with the church, music, and literature all key in understanding black thought and history. Each person included the book has a unique perspective on what direction blacks are heading for in the future. This book's main thought is that even though black poverty is an American problem, blacks have risen up from hard times in the past and will continue to be a major part of this country.

I think Gates meant well by producing this piece,but his mind is no different from Eurocentrics who constantly degrade Africa and it's culture. I Have been on a crusade to justify Africa's existence in the broad history of the world. Gates Fails to do even this. I am a white person by the way. I recommend Gates instead of trying to displace Egypt from Africa you should look for connections. The connections between Egyptain relgion and African traditions is in there and worth a look. Dubois had said in his books constantly about the african features of ancient egypt. I heard Gates is making a documentary of Egypt,and I wonder if it will be insulting like this book and video set. Can scholars trust Gates not to be a biased eurocentric,nor a manaiac Afrocentric. I enjoyed parts of Africana,but found this book was offesive to African people and their culture. If you want to learn more about pre colonial West Africa check out Basil Davidson,a white historian of Africa,but a whole lot better choice on African history. Gates has no knowleadge of Africa either and it not an expert. He is just a pseudo anthropologist/african historian/book critic. TOny Brown also exposed his envolvment of the jewish coverup of the trans Atlantic slave trade. I shall discuss that on another post

Gates has made a good start here. Some things are exposed, like Swahili's role as an Arab pidgeon language (sometimes called "lingua franca" of the Arab slave trade), and at least the African origins of Egypt are mentioned. But African reviewers have given this book a universal drubbing, rightly so, because of its poor treatment of slavery and its role in ripping apart civilizations in Africa.

Gates' treatment of Egypt is also grossly inadequate. Black Africa's role in Ancient Egypt was assumed in the 1800's. Many great historians like Budge placed Ancient Egyptian alongside other "Negro" languages and the relationships are both startling and clear to the language enthusiast, whereas the relationships to Semitic are strained and minor at best. This is but one of many discussion points that Gates misses entirely ... points that I believe would be of deep fascination to any African-American, but also to Europeans like myself who always find history full of strange unknowns that seem to disappear when racism is caste aside. Gates barely mentions "controversy" when he should be saying "travesty".

I believe one of the biggest crimes being committed today by our history departments is the repeated, and gross misrepresentation of ancient Egyptian art, culture and society to make it seem more European. Nevertheless, the book makes a great start. If only major publishers could be convinced to get someone more knowledgeable about Africa and its history to try and redo the concept. Personally, I'm still waiting for a quality coffee table book, full of pictures, that properly relates Ancient Egypt to Africa in general.

"Wonders of the African World" by Henry Louis Gates is an interesting illustrated introduction to Africa, or more precisely, to ancient Nubia and modern Sudan; Ethiopia; Mali and Timbuktu; the Swahili East Coast; the historic Slave Coast and Gold Coast and modern Benin and Ghana; and South Africa and Zimbabwe. The book is a combination of personal essay, travelogue, and history. Much of the criticism of the "Wonders of the African World" TV/book production focused on Gates' sometimes goofy (to the point of insulting, think some) behavior vis-a-vis Africans; in print, Gates is more in his element and the book reads well.

This is no comprehensive history of Africa; rather, Gates explores something of interest in each of the countries he visits (the relations between ancient Nubia and Egypt, Christianity in Ethiopia; the ancient library at Timbuktu; the Eastern slave trade and African/Arab lineage of the Swahili; the Western slave trade and the Asante Kingdom; and megalithic ruins in Southern Africa). Gates writes a middle course between two opposing camps: the outmoded "Africa has no history" and the extreme "All civilization originated in Africa". Gates is no scholar of the history of Africa (and he makes this clear in the opening of the book). Readers who know little about Africa will certainly find much of interest here and will enjoy learning about Africa along with Gates. Students of African history might wonder what all the fuss is about. Everyone will admire the beautiful sepia-toned photographs by Lynn Davis. The book is filled out with well-chosen quotations from a variety of historic writers as well as vintage illustrations. Notes on sources are provided.

It is a pity that Gates did not travel in central Africa, along the Congo River. That's the part of Sub-Saharan Africa with no ancient books (like Timbuktu), no lost cities of stone (like Southern Africa and Sudan), no ancient priesthood or empire (like Ethiopia). It would heve been very interesting to see what Gates would have made of it.

A full-fledged and highly recommended history of Africa is "Africa: A Biography of the Continent" by John Reader. Also see Basil Davidson's "The Black Man's Burden: Africa and the Curse of the Nation-State", "Modern Africa: A Social and Political History", and "Africa in History: Themes and Outlines".