“I cannot be an optimist but I am a prisoner of hope.”
— Cornel West

tannertan36
"I'm Dorothy Gale from Kansas"

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Andulka
almost home
art blog(derogatory)
Stranger Things
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RMH
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KIROKAZE
Today's Document
Mike Driver

Love Begins
macklin celebrini has autism
2025 on Tumblr: Trends That Defined the Year
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🩵 avery cochrane 🩵

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@tooblackgrads-blog
“I cannot be an optimist but I am a prisoner of hope.”
— Cornel West
black women deserve better.
ALL*
Eaxctly all black women deserve better.
#blackwomen
Market Woman, Ghana - John Biggers, circa 1959
About Too Black Grads
Abraham is a doctoral student in history and is currently writing his dissertation on how free and enslaved blacks helped to link port cities with the Atlantic and the hinterlands through building commercial networks in 16th and 17th century West Africa and the Spanish Caribbean.
Demetrius is a master’s student in Latin American Studies and is currently writing a thesis on how Afro-Brazilian entrepreneurs use their businesses as sites of resistance against anti-Blackness in São Paulo, Brazil.
Web is an English Ph.D. who researches contemporary Western Hemispheric Literature, Film & Media on constructions of race and decolonial otherness.
--Talk to us, we talk back--
--Háblanos, vamos a responder--
--Fale conosco, a gente vai responder--
3 for 3 Series
Post 006
three questions, three answers
What was the last book to move you emotionally?
The Autobiography of Malcolm X - Alex Haley and Malcolm X (1965)
Animal's People - Indra Sinha (2007)
Just Mercy: A Story of Justice and Redemption - Bryan Stevenson (2014)
What was the last book to make you say "oh, shit" within the first 50 pages?
Parable of the Sower - Octavia E. Butler (1993)
No One Is Coming to Save Us - Stephanie Powell Watts (2017)
A Thousand Splendid Suns - Khaled Hosseini (2007)
What was the last book to make you stop before completing it because it was too real or hit too close to home?
Uncle Tom's Children - Richard Wright (1938)
The Hate U Give - Angie Thomas (2017)
The New Jim Crow: Mass Incarceration in the Age of Colorblindness - Michelle Alexander (2010)
15 Culturally Significant Black American Films From the Last 35 Years
Post 005
The Color Purple (1985)
School Daze (1988)
Coming to America (1988)
Do the Right Thing (1989)
Boyz n the Hood (1991)
Malcolm X (1992)
Poetic Justice (1993)
Menace II Society (1993)
Friday (1995)
Waiting to Exhale (1995)
Set it Off (1996)
Training Day (2001)
Get Out (2016)
Moonlight (2016)
Black Panther (2018)
“You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive.”
― James Baldwin, The Price of the Ticket
““You wanna fly, you got to give up the shit that weighs you down.””
— Toni Morrison,
Racism and the Political Left
Post 004
Imagine if someone said the following:
“You know, there are a lot of men out there who are not necessarily sexist who felt uncomfortable for the first time in their lives about whether or not they wanted to vote for a woman.”
At best, the statement is a poor excuse for sexism. At worst, it is a way to explain away sexism as the nature of men. Hiding behind language such as “necessarily sexist” is a failure to accept that sexism is a structuring force within our society no matter one’s individual proclivities.
The following is a quote from Bernie Sanders (2018):
“You know, there are a lot of white folks out there who are not necessarily racist who felt uncomfortable for the first time in their lives about whether or not they wanted to vote for an African-American.”
There are many problems inherent with this statement, particularly coming from a “progressive” leftist. Here Bernie highlights a problem not only with his views on race and racism, but also with white leftists in general. He, and others like him, seem either unable or unwilling to address the latent racism that pervades so much of white America as well as their own party. And it’s not clear which is worse. This is evidenced in his, and other leftist scholars/thinkers/politicians, repeated attempts to reduce the election of Donald Trump by white, working class voters to mere ‘economic anxiety’ (without ever fully defining what that means), and in the idea that only the most blatant forms of bigotry can be clearly defined as racist, as if racism isn’t both overt and covert. Voting against a candidate because they’re black? Not racist. Using racist language? Racist! Supporting racist policies that are going to directly and negatively impact communities of color? Not racist. Wearing blackface? You racist!
Bernie and other leftists like him walk a fine line where they can critique the racist and xenophobic tendencies of their white constituencies, but only so much. This unwillingness to call a spade a spade, allows latent, insidious forms of racism to continue to spread. And to thrive. And to take on other forms. Take the explicitly racist language around immigration, for example. Donald Trump framed immigrants as rapists that were a threat to white women in order to rally his base. (Never mind his own history of alleged sexual violence against white women) How is that not similar to Dylan Roof’s racist ideas about black men and his fears about their access to white women? There is a direct thread between the language of anti-immigration and anti-blackness. The inability of many white leftists to address the subtleties of racism means that they are also ill-fitted to tackle the larger, more entrenched elements of racial domination. You can’t balk at calling racists racist and then fight a racist police-state.
Not only that, but Bernie’s politics of economic inequality being at the root of social ills in the U.S. is laughably untrue. Or, rather, it is laughably limited. Any good historian worth their salt will detail how much race and class are interwoven in American history. You cannot solve economic inequality without solving racial inequality. This is most apparent in the decades following WWII. From 1945 - 1970s, there was unprecedented growth in the economic stability and income of the American middle class, as well as a shortening of the income gap between the wealthiest Americans and the poorest. Thanks in no small part to the effort of unions and their organizers whose power unfortunately declined from the 1970s onward. While African Americans and other racial and ethnic minorities were able to see important gains during this period, those gains were unequal to those of their white counterparts, and many found themselves locked out of the social and economic opportunities afforded to white people. This helps to explain why black activists have continuously fought for both economic and racial equality.
This isn’t to Bernie-Bash, but his emphasis on economic equality, while great, elides how much income equality is still predicated on racist practices. And his statement about racists not being racists for doing racists things is troubling. Actually, it’s worse. It’s enabling. And it suggests that he has a limited take on the pervasiveness of racism and even less of a good idea on how go about fixing it.
https://www.theroot.com/bernie-sanders-didnt-mean-to-tell-the-truth-1830344771
Rosewater Review
Post 003
Just completed Rosewater the other day. It is a fantastic read. Tade Thompson takes a new spin on one of the oldest tropes in science fiction: an alien invasion (read: a metaphor for the first contact from British colonizers). Centered in Nigeria and the fictional, alien-colonized settlement called Rosewater, Thompson’s take on traditional sci-fi tropes is particularly refreshing, especially for those of us that normally consume Western (read: white) sci-fi.
The author juggles multiple timelines (which at points can be a bit confusing for the reader) that span the life of the main character Kaaro. Written in first person, Rosewater takes you on a real journey that is at points trippy, revelatory and hilarious, often all three at the same time. Kaaro’s wit, humor and self-honesty (and at times, cowardice) make him a genuinely interesting character. Indeed, Kaaro goes beyond being just another sci-fi hero on some journey to save the world -- he is indelibly human. To really understand the weird brilliance that is Rosewater, you’ll just have to check it out for yourself.
Black History in Its Own Words (2017) // Image Comics
by Ronald Wimberly
Get it here
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Current Reading List (non-academic)
Post 002
Cane River - Lalita Tademy
Friday Black - Nana Kwame Adjei-Brenyah
Buck - MK Asante
Heavy: An American Memoir - Kiese Laymon
The Fifth Season (Broken Earth Trilogy) - N.K. Jemisin
Dawn of Detroit: A Chronicle of Bondage and Freedom in the City of the Straits - Tiya Miles
Rosewater - Tade Thompson
Black Detroit: A People’s History of Self-Determination - Herb Boyd
Moon is a Harsh Mistress - Robert Heinlein
Extracurricular Activities - Yoo Han
"A man's bookcase will tell you everything you'll ever need to know about him," my father had told me more than once. "A businessman has business books and a dreamer has novels and books of poetry. Most women like reading about love, and a true revolutionary will have books about the minutiae of overthrowing the oppressor. A person with no books is inconsequential in a modern setting, but a peasant that reads is a prince in waiting."
― Walter Mosley, The Long Fall (P. 103)
Black Worldbuilding: Telling our own Stories
Post - 001
Creating from one’s reality, one’s culture, one’s community, is vital for writers -- particularly those of us from marginalized groups. For example, Toni Morrison, Zora Neale Hurston, and Octavia Butler all place their existence and their blackness at the center of their works. In doing so, they demand that we listen, that we hear them, and understand them on their own terms. Nnedi Okorafor joins the ranks of these and other great writers in creating from her lived experience. In a compelling TED Talk, Okorafor outlines the importance of writing her truth--her vision of the world. This creates a space where not only do Black people exist in the future, but we thrive even amidst the stars. In this way, art contributes to a collective reimagining of our pasts, presents, and futures. In this way, art is radical.
Dinosaurs in the Hood
Let’s make a movie called Dinosaurs in the Hood. Jurassic Park meets Friday meets The Pursuit of Happyness. There should be a scene where a little black boy is playing with a toy dinosaur on the bus, then looks out the window & sees the T. Rex, because there has to be a T. Rex. Don’t let Tarantino direct this. In his version, the boy plays with a gun, the metaphor: black boys toy with their own lives, the foreshadow to his end, the spitting image of his father. Fuck that, the kid has a plastic Brontosaurus or Triceratops & this is his proof of magic or God or Santa. I want a scene where a cop car gets pooped on by a pterodactyl, a scene where the corner store turns into a battle ground. Don’t let the Wayans brothers in this movie. I don’t want any racist shit about Asian people or overused Latino stereotypes. This movie is about a neighborhood of royal folks — children of slaves & immigrants & addicts & exiles — saving their town from real-ass dinosaurs. I don’t want some cheesy yet progressive Hmong sexy hot dude hero with a funny yet strong commanding black girl buddy-cop film. This is not a vehicle for Will Smith & Sofia Vergara. I want grandmas on the front porch taking out raptors with guns they hid in walls & under mattresses. I want those little spitty, screamy dinosaurs. I want Cicely Tyson to make a speech, maybe two. I want Viola Davis to save the city in the last scene with a black fist afro pick through the last dinosaur’s long, cold-blood neck. But this can’t be a black movie. This can’t be a black movie. This movie can’t be dismissed because of its cast or its audience. This movie can’t be a metaphor for black people & extinction. This movie can’t be about race. This movie can’t be about black pain or cause black people pain. This movie can’t be about a long history of having a long history with hurt. This movie can’t be about race. Nobody can say nigga in this movie who can’t say it to my face in public. No chicken jokes in this movie. No bullets in the heroes. & no one kills the black boy. & no one kills the black boy. & no one kills the black boy. Besides, the only reason I want to make this is for that first scene anyway: the little black boy on the bus with a toy dinosaur, his eyes wide & endless his dreams possible, pulsing, & right there.
By Danez Smith
Jean-Michel Basquiat -- Pez Dispenser, 1984
We Want to Write Stories
Stories where Black people live
Where Black girls reel with power and infinite possibility
Where Black boy joy blooms like mushroom clouds over hate-filled cities
Where Black kids thrive
Where Black mothers don’t weep
Where Black fathers do cry
Where love lives unconditionally
And hate dies
By TooBlackGrads