Brick City Blues

The second in a series of noir romance “Blues” novellas, Brick City Blues centers on a chance meeting between two strangers on an airport layover in Newark, New Jersey—the Brick City. She’s shuttling between her teaching job at Cornell and a research project in DC; he’s on his way to deliver a briefcase full of cash from the Cuban mob in Miami to a local capo for the Italian Mafia in Utica, New York. But opposites attract. Unaware of what he might be mixed up in, she finds herself slowly drawn to the tall, well-dressed stranger with the black briefcase. And he is undeniably attracted to the bookish Ivy League professor. They quickly discover that they have more in common than not. Or so it seems. Welcome to the Brick City, where anything can happen.

Brick City Blues is both a descriptive title and an analogy; Brick City is Newark, New Jersey, an urban area riddled with drugs, gangs, and other assorted street crime. Blues is meant to describe both the mood the depressing conditions induce and to draw the reader's attention to the policing in the story. The setting in this story is a depressing period in Newark history: over sixty police officers were laid off without warning in 2010, leading to an increase in street crime at a time when it was slowly peaking. The lack of manpower led to the brutal murder of a young police officer shortly after the layoffs. This story is a fictional account of the murder and how it could theoretically affect the drug market at a time when the police department is overworked and understaffed.

Brick City Blues is both a descriptive title and an analogy; Brick City is Newark, New Jersey, an urban area riddled with drugs, gangs, and other assorted street crime. Blues is meant to describe both the mood the depressing conditions induce and to draw the reader's attention to the policing in the story. The setting in this story is a depressing period in Newark history: over sixty police officers were laid off without warning in 2010, leading to an increase in street crime at a time when it was slowly peaking. The lack of manpower led to the brutal murder of a young police officer shortly after the layoffs. This story is a fictional account of the murder and how it could theoretically affect the drug market at a time when the police department is overworked and understaffed.

Russell Avery needs a story to tell. The laid-off reporter turned private investigator is almost out of clients after he stood up against the Newark police officers whose problems he used to fix for a paycheck, exposing a scandal that left him on the wrong side of one of those thin blue lines. Desperate for work, Russell is as elated as he is skeptical when a detective shows up on his doorstep, asking him to look into one of the Brick City's most haunting mysteries: The Twilight Four killings. The detective tells Russell a story almost too good to be true, but maybe good enough to save his otherwise doomed journalism career if it is true. Supposedly, the wrong man was convicted in the brutal arson-murders that claimed four teenagers' lives, and if Russell finds the right one, he'll have the inside track on the kind of story that most reporters stake their careers on. But things worth knowing don't make themselves easy to find. As Russell starts untangling the complications of a decades-old murder that never even had a crime scene to start from, he runs into opposition from City Hall and finds himself drug into the middle of a contentious Mayoral race that could impact Newark for generations to come, all while trying to stay one step ahead of the real Twilight Four killer, who wouldn't mind reducing Russell to ash. In the sequel to the critically acclaimed LINE OF SIGHT, Russell Avery must once again try to figure out the definition of justice in a city where that term rarely applies to those who live below the poverty line.

The worldÕs a very different place from the one school teacher Jefferson Pierce once knew, and Black Lightning isnÕt the same hero he was. Older and wiser, Black Lightning resurfaces with a ferocious new look and a dangerous edge in a city desperately needing a hero. Collects Black Lightning #1-13 and a tale from DC Universe Holiday Bash #2.

Amiri Baraka is unquestionably the most recognized leader of the Black Arts Movement of the 1960s and 1970s, and one of the key literary and cultural figures of the postwar United States. While Baraka's political and aesthetic stances changed considerably over the course of his career, Brick City Vanguard demonstrates the continuity in his thinking about the meaning of black music in the material, psychic, and ideological develophorroment of black people. Drawing on primary texts, paratexts (including album liner notes), audio and visual recordings, and archival sources, James Smethurst takes a new look at how Baraka's writing on and performance of music envisioned the creation of an African American people or nation, as well as the growth and consolidation of a black working class within that nation, that resonates to this day. This vision also provides a way of understanding the encounter of black people with what has been called "the urban crisis" and a projection of a liberated black future beyond that crisis.

For the first time in forty years, the story of one of America's most maligned cities is told in all its grit and glory. With its open-armed embrace of manufacturing, Newark, New Jersey, rode the Industrial Revolution to great prominence and wealth that lasted well into the twentieth century. In the postwar years, however, Newark experienced a perfect storm of urban troublesùpolitical corruption, industrial abandonment, white flight, racial conflict, crime, poverty. Cities across the United States found themselves in similar predicaments, yet Newark stands out as an exceptional case. Its saga reflects the rollercoaster ride of Everycity U.S.A., only with a steeper rise, sharper turns, and a much more dramatic plunge. How Newark Became Newark is a fresh, unflinching popular history that spans the city's epic transformation from a tiny Puritan village into a manufacturing powerhouse, on to its desperate struggles in the twentieth century and beyond. After World War II, unrest mounted as the minority community was increasingly marginalized, leading to the wrenching civic disturbances of the 1960s. Though much of the city was crippled for years, How Newark Became Newark is also a story of survival and hope. Today, a real estate revival and growing population are signs that Newark is once again in ascendance.

In Austin, Texas, in 2002, a group of artists, activists, and academics led by performance studies scholar Omi Osun Joni L. Jones formed the Austin Project (tAP), which meets annually in order to provide a space for women of color and their allies to build relationships based on trust, creativity, and commitment to social justice by working together to write and perform work in the jazz aesthetic. Inspired by this experience, this book is both an anthology of new writing and a sourcebook for those who would like to use creative writing and performance to energize their artistic, scholarly, and activist practices. Theoretical and historical essays by Omi Osun Joni L. Jones describe and define the African American tradition of art-making known as the jazz aesthetic, and explain how her own work in this tradition inspired her to start tAP. Key artists in the tradition, from Bessie Award–winning choreographer Laurie Carlos and writer/performer Robbie McCauley to playwrights Daniel Alexander Jones and Carl Hancock Rux, worked with the women of tAP as mentors and teachers. This book brings together never-before-published, must-read materials by these nationally known artists and the transformative writing of tAP participants. A handbook for workshop leaders by Lambda Literary Award–winning writer Sharon Bridgforth, tAP's inaugural anchor artist, offers readers the tools for starting similar projects in their own communities. A full-length script of the 2005 tAP performance is an original documentation of the collaborative, breath-based, body work of the jazz aesthetic in theatre, and provides both a script for use by theatre artists and an invaluable documentation of a major transformative movement in contemporary performance.