The Dance Begins

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In this short story prequel to Pretending to Dance, psychologist Graham Arnette longs to dance the way he used to, before illness stole his ability to walk. Graham lives on one hundred acres of family land with his daughter Molly and his wife Nora-and with Amalia, a green-eyed beauty with whom Graham shares his hopes and fears. Six-year-old Molly is the light of Graham's life. As he and his extended family turn an old springhouse into a playhouse for her, long buried hostilities emerge that lead to anger and resentment. . . and, ultimately, to the healing power of family love.
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4.6
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Additional Information

Publisher
St. Martin's Press
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Published on
Aug 11, 2015
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Pages
35
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ISBN
9781466890022
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Features
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Language
English
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Genres
Fiction / Contemporary Women
Fiction / Short Stories (single author)
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Content Protection
This content is DRM protected.
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Available on Android devices
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Eligible for Family Library

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Can black males offer useful insights on black women and patriarchy? Many black feminists are doubtful. Their skepticism derives in part from a history of explosive encounters with black men who blamed feminism for stigmatizing black men and undermining racial solidarity and in part from a perception that black male feminists are opportunists capitalizing on the current popularity of black women's writing and criticism. In Breaking the Silence, David Ikard goes boldly to the crux of this debate through a series of provocative readings of key African American texts that demonstrate the possibility and value of a viable black male feminist perspective.
Seeking to advance the primary objectives of black feminism, Ikard provides literary models from Chester Himes's If He Hollers Let Him Go, James Baldwin's Go Tell It on the Mountain, Toni Morrison's Paradise, Toni Cade Bambara's The Salt Eaters, and Walter Mosley's Always Outnumbered, Always Outgunned and Walkin' the Dog that consciously wrestle with the concept of victim status for black men and women. He looks at how complicity across gender lines, far from rooting out patriarchy in the black community, has allowed it to thrive. This complicity, Ikard explains, is a process by which victimized groups invest in victim status to the point that they unintentionally concede power to their victimizers and engage in patterns of behavior that are perceived as revolutionary but actually reinforce the status quo.
While black feminism has fostered important and necessary discussions regarding the problems of patriarchy within the black community, little attention has been paid to the intersecting dynamics of complicity. By laying bare the nexus between victim status and complicity in oppression, Breaking the Silence charts a new direction for conceptualizing black women's complex humanity and provides the foundations for more expansive feminist approaches to resolving intraracial gender conflicts.
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