Tag Archives: questioning/inquiry

Alice Childress

“Alice Childress: (1916-1994) U.S. playwright, novelist, and actress. She grew up in Harlem and studied drama with the American Negro Theater, where she wrote, directed, and starred in her first play, Florence (produced 1949). Her other plays, some featuring music, include Trouble in Mind (produced 1955), String (1969), The African Garden (1971), and Gullah (1984). She was also a successful writer of children’s books, including A Hero Ain’t Nothing But a Sandwich (1973).”

­­­­­­­­­Excerpted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Brown Girl, Brownstones

“Brown Girl, Brownstones: (1959) A novel by Paule Marshall, The title refers to the rows of Victorian brownstone houses that abound in Fulton Park, Brooklyn, where Selina Boyce, the main character, lives. Selina is the daughter of Barbadian immigrants who moved to the U.S. twenty years earlier. After two decades of labor, mostly as domestics and factory workers, they, along with other Barbadians, have moved out of a cockroach-infested nieghborhood to better environs, with dreams of owning their own house. The Boyces attempt to acquire one of the brownstones and rise in the eyes of other middle-class Barbadians, However, Selina’s father, Deighton, has a vision of a perfect house he would consider living in, the kind of house in which whites would want to live. The money to acquire a house is obtained through inheritance, but because the house he wants is not available, Deighton decides to spend every bit of the money on a shopping spree on Fifth Avenue. The dream of the house is abandoned as the area is picked by inner-city developers for a major project.

Meanwhile, Selina has spiritually grown away from her family. She goes to college and copes with racism, temporarily transcending it through the medium of dance. However, the effect is short-lived: at a party following her stage performance, hosted by a rich white family on the Upper East Side, she begins to feel the pressure of racism again, through the unconsciously racist comments that are passed socially. But Selina emerges at the end of the novel as a much stronger person, having discovered herself through art.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Alice Walker

“Alice (Malsenior) Walker: (b.1944) U.S. writer. Born in Eatonton, Georgia, Walker moved to Mississippi after attending Spelman and Sarah Lawrence colleges and became involved with the civil-rights movement. Her works are noted for their insightful treatment of African-American culture. Her third and most popular novel, The Color Purple (1982; Pulitzer Prize; film, 1985), depicts a black woman’s struggle for racial and sexual equality. Her later novels include The Temple of My Familiar (1989) and Possessing the Secret of Joy (1992). She has also written essays, some collected in In Search of Our Mothers’ Gardens (1983); several books of poetry; short stories; and children’s books.

Excerpted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

[Addendum: The Color Purple was filmed a second time, in 2023; this second film adaptation was based on the Broadway musical of The Color Purple.]

The Weekly Text, 20 February 2026, Black History Month Week III: A Reading on Arturo Schomburg

Sometime not long after I returned to New York in 2021, I attended a lecture a the New York Public Library (the main on 5th Avenue and 42nd Street, with the lions Patience and Fortitude at the front) on Arturo Schomburg. When I lived in Harlem, I walked by his namesake, the Schomburg Center for Research in Black Culture, every morning on my way to work. I also regularly stopped in to view exhibits there as well.

Therefore, Arturo Schomburg has been something of a presence in my intellectual life since 2004.

There are two biographies of Arturo Schomburg: Diasporic Blackness: The Life and Times of Arturo Schomburg,  by Vanessa Valdes or Arturo Schomburg: Black Bibliophile and Collector by Elinor Des Verney Sinette. I read the latter

One thing that I did pick up on at the lecture and in Ms Sinette’s book, however, was the existence of this article from the man himself. This is a PDF of an article “Arthur” (one thing I learned about Schomburg is that very little is known about him, including which given version of his given name he was using at any time) Schomburg wrote on Black History, “The Negro Digs Up His History.” Nota bene, please, that I have only posted the reading; next year at this time (I already have the basic structure assembled) you’ll find a fully realized lesson plan to accompany this article.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Carter G. Woodson on the Oppressor’s Methodology

“If you teach the Negro that he has accomplished as much good as any other race he will aspire to equality and justice without regard to race. Such an effort would upset the program of the oppressor in Africa and America. Play up before the Negro, then, his crimes and shortcomings. Let him learn and admire the Hebrew, the Greek, the Latin and the Teuton. Lead the Negro to detest the man of African blood—to hate himself. The oppressor may then conquer, exploit, oppress and even annihilate the Negro by segregation without fear or trembling. With the truth hidden there will be little expression of thought to the contrary.

The American Negro has taken over an abundance of information which others have made accessible to the oppressed, but he has not yet learned to think and plan for himself as others do for themselves. Well might this race be referred to as the most docile and tractable people on earth. This merely means that when the oppressors once start the large majority of the race in the direction of serving the purposes of their traducers, the task becomes so easy in the years following that they have little trouble with the masses thus controlled. It is a most satisfactory system, and it has become so popular that European nations of foresight are sending some of their brightest minds to the United States to observe the Negro in ‘inaction’ in order to learn how to deal likewise with Negroes in their colonies. What the Negro in America has become satisfied with will be accepted as the measure or what should be allotted him elsewhere. Certain Europeans consider the ‘solution to the race problem in the United States’ one of our great achievements.”

Excerpted/Adapted from: Woodson, Carter G. The Mis-education of the Negro. Eastford, CT: Martino Fine Books, 2018.

The Weekly Text, 6 February 2026, Black History Month Week I: 27 Pages of Annotations (Covering All 17 Chapters) on Chimamanda Ngozi Adichie’s Novel “Purple Hibiscus”

OK–Black History Month 2026 has arrived. As I say every year, at Mark’s Text Terminal every month is Black History Month because Black History is American History. At the same time, far be it from me to second guess a person of Carter G. Woodson’s stature; Black History Month is his brainchild. This month I have a couple of new things to roll out, developed in the year since the last time the calendar spun around to February.

So let’s start out with these 27 pages of annotations I prepared to accompany all 17 chapters of Chimamanda Ngozi Adichie’s first novel Purple Hibiscus. As you may know, Ms. Adichie is a member of a group of writers known as the “Children of Achebe” (about which I heard a great deal on a public radio program several years ago, and can now find no credible source for citation on the Internet). Artificial Intelligence (which I think dubious at best) yields a list of names that include Ms. Adichie, as well as Helon Habila, Chigozie Obioma, and Sefi Atta.

Achebe, of course, refers the the late, great, Chinua Achebe, whose novel Things Fall Apart is universally regarded as a masterpiece of post-colonial literature. Purple Hibiscus is also an exemplary post-colonial novel. And it’s difficult to get past the first sentence of this fine book without noticing Ms. Adichie’s homage to Chinua Achebe: “Things started to fall apart at home when my brother, Jaja, did not go to communion and Papa flung his heavy missal across the room and broke the figurines on the etagere.”

Finally, in preparing this post, I intended to refer to material I’d prepared and published for Ms. Adichie’s short book (pamphlet, really, and literally the transcript of a TED talk), We Should All Be Feminists. To my surprise, I somehow never staged this material for inclusion in this blog. I have two versions of the unit, one complete and one incomplete. The complete unit was prepared for a small class of emergent readers and writers, so there is a lot of material. Needless to say, now that I have uncovered this lapse, I have this material in the warehouse and ready for publication.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Orson Welles

Orson (George) Welles: (1915-1985) U.S. film director, actor, and producer. Born in Kenosha, Wisconsin, he began directing on stage at 16 and made his Broadway debut in 1934. He directed an all-black cast in Macbeth for the Federal Theater Project. In 1937 he and John Houseman formed the Mercury Theater, creating a series of radio dramas and attempting to mount Marc Blitzstein’s The Cradle Will Rock in the face of determined opposition, and winning notoriety with their panic-producing broadcast of War of the Worlds (1938). Welles then moved to Hollywood, where he cowrote, directed, and acted in the classic Citizen Kane (1941), noted for its innovative narrative technique and atmospheric cinematography and considered the most influential movie in film history. His other films include The Magnificent Ambersons (1943), The Stranger (1946), The Lady from Shanghai (1948), Othello (1952), The Trial (1963), Touch of Evil (1958) and Chimes at Midnight (1966). His problems with Hollywood studios curtailed future productions, and he moved to Europe. He was also notable as an actor in Jane Eyre (1944), The Third Man (1949), and Compulsion (1959).

Excerpted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Cultural Literacy: Stanford-Binet Scale

If you can use it, here is a Cultural Literacy worksheet on the Stanford-Binet Scale. As you probably know, this instrument purports to measure intelligence and rate it using an “Intelligence Quotient“–which gives us “IQ.” Over time, there have been questions (as well their should be) about the validity of this scale.

I can’t really comment on that. What I can tell you is that this is a half-page worksheet with a two-sentence reading and two comprehension questions. This is just the sparest of introductions to this high-stakes assessment, about which the late Steven Jay Gould (for which I thank him) had some things to say.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Nipmuc

“Nipmuc: In the state of Massachusetts, the low coastal plains rise up to an inland plateau. The plateau is separated from even higher country to the west, the Berkshire Hills, by the Connecticut River. On this central plateau, covered with rich topsoil and dense woods, and coursed by swift-flowing rivers, once lived bands of Algonquians. But there were many different bands and villages, but they came to be known together as Nipmucs.

Their name, pronounced NIP-muck, is derived from the Algonquian word nipmaug, for “fresh water fishing place.” The fact that they primarily used inland freshwater lakes and rivers for their fishing rather than the Atlantic Ocean marks their major difference from many other New England Algonquians who lived closer to the coast. In other ways–such as their hunting and farming methods, their tools, and their beliefs–they were much like their other Algonquian neighbors. The Nipmucs were noted in particular for their basketmaking, weaving, and leatherwork.

Historically, too, their story is linked to other area tribes. The Nipmucs were associated in early colonial years with the Massachuset tribe, and many of them also became Praying Indians. But then in 1675, most of the Nipmuc braves joined the Wampanoags and Narragansets in King Philip’s War. At the end of the war, Many Nipmuc survivors joined Algonquian kinsmen, such as the Mahicans on the Hudson River. Others joined Algonquians in Canada.

The Nipmucs have one of the smallest reservations in the East, only 11.9 acres. It is called the Hassanamisco Reservation, after a village and tribal name. The Hassanamiscos once held the territory around what is now Grafton, Massachusetts. Before 1728, the reservation consisted of 8,000 acres. But most of the land was lost when tribal leaders were tricked into selling it for no payment at all. In 1848, the state set aside the tiny piece that now remains.”

Excerpted from: Waldman, Carl. Encyclopedia of Native American Tribes. New York: Facts on File, 1988.

Praxis

“Praxis: The Greek word meaning ‘doing’ is widely used for all purposeful human activity. In his later, Marxist-influenced work, Sartre, for instance, defines praxis as political action in the world, or as the practical transformation of the world in accordance with a desired end or formality (1960). Praxis is a specifically human activity; the dam-building of a beaver is not praxis because it is an instinctual and unchanging response to a natural environment, and because it implies neither the mastery of existing technology nor the development of new technical means. Beavers will always build dams in the same manner; human engineers will develop new ways of doing so. Although praxis is determined by a finality of goal, its outcome is not always predictable, and it may be reversed into a counter-finality that frustrates the original intention. The outcome or material development of praxis is referred to as the ‘practico-inert’; the relationship between the two is not dissimilar to that between the in-itself and the for-itself.

In his Prison Notebooks, Gramsci (1971) uses the term “philosophy of praxis” as a synonym for Marxism.

Excerpted from: Macey, David. The Penguin Dictionary of Critical Theory. New York: Penguin, 2001.