Forthcoming

"Freeing yourself was one thing; claiming ownership of that freed self was another." author Toni Morrison (1931- 05.08.2019)

“If I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me”; Nora Ephron, author/comedian

"Make your story count". Michelle Obama

"Social pain is understood through the lens of racial animus". Researcher/author Sean McElwee writing in Salon, 2016

"We are citizens, not subjects. We have the right to criticize government without fear."  Chelsea Manning; activist/whisleblower

“My father was a slave and my people died to build this country, and I’m going to stay right here and have a part of it, just like you, And no fascist minded people, like you, will drive me from it. Is that clear?” Paul Robeson; activist/singer

“We have a system of justice in this country that treats you much better if you're rich and guilty than if you're poor and innocent”. from civil rights attorney Bryan Stevenson

“This Fourth of July is yours, not mine. You may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak today?” Frederick Douglass, WHAT TO THE SLAVE IS 4TH JULY? 07.05.1852 (full text in blog)

Senator Elizabeth Warren "We're a country that is built on our differences; that is our strength, not our weakness"

 

"We are more alike than we are different"v  Maya Angelou

As a Black writer, I was expected to accept the role of victim. That made it difficult in the beginning to be a writer.      James Baldwin

I often feel that there must have been something that I should’ve done that I didn’t do. But I can’t identify what it is that I didn’t do. That’s the first difficulty. And the second is, what makes you think you’re it?   

         Harry Belafonte, activist and singer at 89

 

It ain't what you don't know that gets you into trouble; It's what you know for sure that just ainst so.

Mark Twain

 

You can't be brave if you've only had wonderful things happen to you.

Mary Tyler Moore

 

 You can’t defend Christianity by being against refugees and other religions

Pope Francis:

 

"I don't have to be what you want me to be". Muhammad Ali

"The Secret of Living Well and Longer: eat half, walk double, laugh triple, and love without measure"  attributed to Tibetan sources

Recent audio posts include interviews with Rumi interpreter Shahram Shiva, London-based author Aamer Hussein, South African Muslim scholar, professor Farid Esack, and Iraqi journalist Nermeen Al-Mufti's brief account of Kirkuk City history. Your comments on our blogs are always welcome.

 

Two Black Man Films: "Fences" and "Moonlight"

2017-06-28

by Barbara Nimri Aziz

Both of these award-winning new releases are exclusively acted by Black Americans and could be seen as slices of African American life. Each focuses on the life of a man, the life of an individual that’s offered to us with such a high level of acting that the black in the story disappears. 

I have long respected the talent of actor Denzel Washington despite his appearance in so many films with violent themes, and even though he usually plays noble men. The first time I saw him was in Mira Nair’s 1991 film Mississippi Masala in the role of Demetrius Williams. There and his many superb performances thereafter is why I decided to view Fences. I wanted to hear his consummate voice again. Washington’s familiar timbre is barely recognizable in Fences. But I was not disappointed.

As strong as Viola Davis is as his co-star, Washington is outstanding, arguably because he’s able to totally disembody himself and build the complex character of Troy Maxson, the central figure in Fences. That performance stands out for me because I forgot that his skin color and that of the other characters is black. Not only this; I forgot that Troy Maxson is the actor Denzel Washington. In Fences Troy completely overtakes Washington; moreover, we recognize him as a type of man who to one degree or another we feel we know personally. Troy is a person I know.

If you’re familiar with the narrative of Fences, you’ll understand what I mean. What many reviews overlook is the complexity of the character Maxson, a hard working man, but a man bent, wasted, and embittered. Troy Maxson is a man with unrealized expectations as a baseball player, a father unable to inspire his sons, a brother carrying a shame he cannot hide; he’s a father who does not enjoy the pride he desperately needs. Thanks to Washington’s artistry, we may walk away from the film reflecting on some failure in ourselves or someone close to us, how we manifest our letdown, and perhaps like Troy, inflict hardships on those dear to us. I hadn’t seen this human experience played so powerfully on screen in many years.

Few actors can transcend either their race or their celebrity with a performance like Washington gives us in Fences. Which takes me to Moonlight, another outstanding recent film with a full cast of African Americans and centered on a Black American family. Mahershala Ali, best known for his fine performance as the self-serving lobbyist in the televised series House of Cards, was awarded an Oscar for his supporting role in Moonlight. But the real talent there is exhibited by the three actors who play the boy, the teen, and the adult ‘Chiron’ whose painful growth we follow into adulthood. Moonlight is also a story about manhood, about feelings unrealized (labeled by others as a “gay coming of age film”). Beautifully constructed and with restrained, spare dialogue, most of the film seems to be a story about one corner of Black American life. But with the final scene when Chiron, powerfully played by Trevante Rhodes, now transformed into a man, confronts his first love, a childhood friend, it rises to another level. It is a love story, pure and subtle. No race, no class; just two men quietly finding each other. 

 

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Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, the only fact we have. It seems to me that one ought to rejoice in the fact of death–ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life. One is responsible for life: It is the small beacon in that terrifying darkness from which we come and to which we shall return.

James Baldwin

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