Sublime

People who shut their eyes to reality simply invite their own destruction, and anyone who insists on remaining in a state of innocence long after that innocence is dead turns himself into a monster. The time has come to realize that the interracial drama acted out on the American continent has not only created a new black man, it has created a new

Being a Black American requires double consciousness, in the words of W. E. B. Du Bois, the habit of seeing from inside the logic of race and the lives of the racialized, and from the external superego of what it means to be American, with all its archetypes and interests.

The rage of the disesteemed is personally fruitless, but it is also absolutely inevitable; this rage, so generally discounted, so little understood even among the people whose daily bread it is, is one of the things that makes history. Rage can only with difficulty, and never entirely, be brought under the domination of the intelligence and is ther

The advocates and defenders of the black jazz avant-garde and the emergent black cultural nationalists had to distance themselves from what they took to be the threat to their project of black freedom—bebop as jazz authenticity, and cultural assimilation as the solution to black cultural subordination.

“What are the benefits to living in a Black-majority city?” and, “Why do so many of us choose to stay in them?”

At the root of the American Negro problem is the necessity of the American white man to find a way of living with the Negro in order to be able to live with himself. And the history of this problem can be reduced to the means used by Americans—lynch law and law, segregation and legal acceptance, terrorization and concession—either to come to terms

creator of the Smithsonian Museum’s “Programs in Black Culture,” and one of the leading authorities on Black American music culture,

how Blackness is selectively celebrated (and contained) within the white imagination.