Angry Black White Boy Or The Miscegenation Of Mason Detornay

From the acclaimed author of Shackling Water comes the first great race novel of the twenty-first century, an incendiary and ruthlessly funny satire about violence, pop culture, and American identity. Macon Detornay is a suburban white boy possessed and politicized by black culture, and filled with rage toward white America. After moving to New York City for college, Macon begins robbing white passengers in his taxicab, setting off a manhunt for the black man presumed to be committing the crimes. When his true identity is revealed, Macon finds himself to be a celebrity and makes use of the spotlight to hold forth on the evils and invisibility of whiteness. Soon he launches the Race Traitor Project, a stress-addled collective that attracts guilty liberals, wannabe gangstas, and bandwagon riders from all over the country to participate in a Day of Apology—a day set aside for white people to make amends for four hundred years of oppression. The Day of Apology pushes New York City over the edge into an epic riot, forcing Macon to confront the depth of his own commitment to the struggle. Peopled with all manner of race pimps and players, Angry Black White Boy is a stunning breakout book from a critically acclaimed young writer and should be required reading for anyone who wants to get under the skin of the complexities of identity in America.

From the critically acclaimed author of "Shackling Water" comes an incendiary and ruthlessly funny novel about violence, pop culture, and identity in 21st-century America.

Comprehensive and comparative, this volume investigates African American street novelists since the Chicago Black Renaissance and the semiotic strategies they employ in publication, consumption, and depiction of street life. Divided into three chapters, this text analyzes the content, style, and ethics of “street” narrative through a discursive/rhetorical lens, exploring the development of street literature’s formal and contextual concerns to resolve the sociocultural and political questions surrounding cultural work. The book also gives emphasis to “text” or (post)structural literary analysis by answering questions about the genre’s aesthetic and linguistic techniques that respond to the injustices of urban planning. The last chapter, “Representation,” investigates the phenomenological hermeneutics of more recent street literature and its satire, highlighting the political stakes for authorship, credibility, and subjectivity. Through historical and contemporary studies of urban space, Blackness, and adaptations of street literature, this work attempts to network activists, artists, and scholars with the greater reading public by providing a functional ontology of reading the inner city.

Explores American fiction of the last thirty years, examining the political and cultural changes that distinguish the period

An instant New York Times bestseller! From the bestselling author of Go the **** to Sleep and healthy eating advocate Camila Alves McConaughey comes a whimsical role reversal in which picky eater parents are confronted by their three kids, with hilarious results These three kids are determined to get their parents to put down the ice cream, cake, and chicken fried steak to just try one bite of healthy whole foods. But it's harder than it looks when these over-the-top gagging, picky parents refuse to give things like broccoli and kale a chance. Kids will love the jaunty rhyme that's begging to be read aloud and the opportunity to be way smarter—and healthier—than their parents.

Having faked his way into the Music and Art Academy, a performing arts school for gifted students where his talented older sister rules, sixth-grader Jake, a jokester who can barely play an instrument, will have to think of something quick before the last laugh is on him.

Reassessing the meanings of "black humor" and "dark satire," Laughing Fit to Kill illustrates how black comedians, writers, and artists have deftly deployed various modes of comedic "conjuring"--the absurd, the grotesque, and the strategic expression of racial stereotypes--to redress not only the past injustices of slavery and racism in America but also their legacy in the present. Focusing on representations of slavery in the post-civil rights era, Carpio explores stereotypes in Richard Pryor's groundbreaking stand-up act and the outrageous comedy of Chappelle's Show to demonstrate how deeply indebted they are to the sly social criticism embedded in the profoundly ironic nineteenth-century fiction of William Wells Brown and Charles W. Chesnutt. Similarly, she reveals how the iconoclastic literary works of Ishmael Reed and Suzan-Lori Parks use satire, hyperbole, and burlesque humor to represent a violent history and to take on issues of racial injustice. With an abundance of illustrations, Carpio also extends her discussion of radical black comedy to the visual arts as she reveals how the use of subversive appropriation by Kara Walker and Robert Colescott cleverly lampoons the iconography of slavery. Ultimately, Laughing Fit to Kill offers a unique look at the bold, complex, and just plain funny ways that African American artists have used laughter to critique slavery's dark legacy.