Four Books I Hope Are Written About Marvel’s Black Panther Between Now and 2022

Attention, writers: three years is a long time to write these books:

  1. We need a serious media studies criticism book on the film phenomenon–how and why it happened, from both popular culture and propaganda-study perspectives, detailing Disney’s very detailed plan for worldwide mind control through eye-candy. The Disney-Sony dustup over Spidey would be an excellent coda.
  2. We need a book about the Africanisms of the film. Here’s where you would start.
  3. We need at least one more book about the history of the character in the comics: the 1988 miniseries, his leadership in and of The IlluminatiThe Ultimates, The New Avengers and, in 2018, The Avengers itself have yet to be explored. There is a brand-new ongoing Black Panther comic, just out tomorrow, where T’Challa forms his own SHIELD-like team. (Sadly, the team has a primate on it and Marvel’s answer to Tarzan, Ka-Zar; let’s hope Black Twitter is paying attention. 🙂 ) This is historic because it’s the first time T’Challa has had more than one ongoing comic.
  4. We need a book on the history of African superheroes/mythological heroes, those created by Africans versus those created by non-Africans.

Book Mini-Reviews: Mouthpieces Of Freedom

 

The Weeping Time: Memory and the Largest Slave Auction in American History.
Anne C. Bailey.
208 pp. $24.99.

Becoming Free, Becoming Black: Race, Freedom, and Law in Cuba, Virginia, and Louisana.
Alejandro de la Fuente and Ariela J. Gross.
269 pp. $24.95.
Both books published by Cambridge University Press.

 

Cambridge University Press very savvy-ingly sent 2017’s Weeping Time out recently to note that Bailey is a contributor to The New York Times’s 1619 project. The publisher then followed up in the mail with advance copies of  Becoming Free, Becoming Black, which will be published in January. Both books chronicle the struggle of enslaved Africans in the New World: Free from the 16th through the 19th centuries and Weeping in 1859, the year of John Brown’s raid.

Bailey skillfully uses white documents to expose white supremacy and detail Black agency. The 400-plus slaves sold on that one terrifying Georgia auction block in two days belonged to one master, Pierce Mease Butler, and the letters and diaries of his family allow us a tiny, often-racist window into the nearly-destroyed lives of the enslaved Africans. Bailey correctly uses her historical and cultural expertise as a counterpoint to the white racist documents, almost talking back to them. She shows extensive knowledge of the many Africanisms of the enslaved Africans, who are Gullah/Geechee. It is unfortunate, then, to say that she does not conclude her centuries-filled, memory-themed journey into the realm of African-centered scholarship, which has a pointed and clearly-articulated worldview about Africans, colonization/enslavement and memory. Her comparison to European Jewish efforts to remember the Jewish Holocaust is tired and–painfully and ironically, in this particular context–colonized, Eurocentric thinking that needs permanent rest in the form of suffocation and deep burial.

One sub-theme tying Bailey with de La Fuente and Gross is the supreme love enslaved Africans had for family and home. Bailey describes that home-love as so deep, some now-freed Africans would stay on their former plantations, creating new relationships with their former masters on lands they knew well. De La Fuente and Gross–in their comparative legal history comparing the legal structures of Iberian, French and English legal approaches to ensuring that Black equals slave, regardless of Christian conversion–mention a free woman, Ann Riter, who petitions Virginia to be re-enslaved so she can stay with her family after the state demands in 1861 that free Black people leave it. All three territories were, in the authors’ words, “successful, brutal slave societies.” Gross and de la Fuente show how Blacks fought the respective legal systems they were trapped by to establish their rights as human beings, while Bailey shows the fight of the descendants of the Butler clan to stay alive.

These books are among the many that exist and are coming–meticulous, serious international studies of slavery that translate end explain 16th-, 17th-, 18th- and 19th-century documents correctly. With power and grace they excavate and display the many voices of Black resistance.

My Little-Picture Story About New Ancestor Toni Morrison…….

……can be found here.

139-Word Review of “Spider-Man: Far From Home” [SPOILER-FREE]

“Spider-Man 2” from 2004 (the powerfully ballooned version of “Spider-Man,” vol. 1, no. 50, “Spider-Man No More”) is this writer’s gold standard of “Spider-Man” films. Although “Spider-Man: Far From Home” was extremely effective, it didn’t reach that mark. It got real close, though. Then came the first post-credit sequence. That mere two minutes blew theater-goers’ minds and blew “Home” into “Spider-Man 2” territory. It was so shocking that the film’s second post-credit sequence, a somewhat surprising one to a Marvel (Comics) Zombie and completely perplexing if one is just a Marvel movie fan, almost fell flat. Which is quite an accomplishment for Marvel, a studio that, before this film, was criticized for making movies with plots that don’t move characters forward, action without real stakes and filled with heroes who face no consequences. No more, indeed. Wow, wow, wow.

My Latest Book Review, About Mumia Abu-Jamal’s Second In His American Empire Book Trilogy,…..

…..is here.

 

256-Word Review of “X-Men: Dark Phoenix” [SPOILERS]

How do you mess up the same story twice? How do you make arguably the best X-Men story ever into mediocre entertainment 13 years after the same producers/writers/directors did it the first time? Simple: throw the comicbook story away because, like Batman-movie-killer Joel T. Schumacher or, even better, Zack Snyder, who seemingly thought every DC movie was some sort of “Watchmen” prequel, you think your vision is more important. There’s a reason this film has been correctly savaged: after almost 20 years, critics and fans are tired of this version of the X-Men, and they are waiting for Kevin Feige to take over. Because when he does, Cyclops, Storm and Jean will stop being supporting characters to J-Law (why even bother calling her Mystique when she does nothing? To be honest, I almost cheered when Jean killed her; she should have died at least one movie ago), Michael Fassbender (Dude, change your mind about James Bond, and do one film!), and James McAvoy. The “Dark Phoenix” story is simple to adapt, as either of these X-Men animated series can show you: Jean goes out of control, and each individual X-Man(/Woman) has to search his or her conscience how to handle it. But that would require each X-Man to be a fully developed character we would actually care about. (Quiz: Who plays Storm? You don’t know, right? See??? 🙂 ) And so one of the classic 20th century superhero stories will never get its proper due.  So when does “Spider-Man: Far From Home” come out again?

Book Mini-Review: The Seer’s Notes

Working: Researching, Interviewing, Writing.
Robert A. Caro.
Knopf. 207 pp. $25.00.

This historian turning his anecdotes inward is interesting to hardcore Caro-ites, like this writer. The how and the why are answered. The rules are simple: Marry the right woman (Ina Caro, a historian in her own right and Caro’s only researcher, needs her own published version of these stories). Turn every page. Ask thousands, What did you see? What did you hear? Now ask the questions repeatedly. Also simple is Caro’s origin story. He was a young Princeton grad who did well at Long Island Newsday when all of that mattered, and who, luckily for him, found the team that is now American literary legend: Lynn Nesbit and Robert Gottlieb. So for more than 50 years, Caro has been financially freed up to read, research, interview, and write about American political power.  The winner of enough literary awards to weigh down a battleship, he can afford the incredible amount of shoe-leather that allows him to patiently find any buried truth or fact, anywhere. “Of course there was more,” he writes. “If you ask the right questions, there always is. That’s the problem.” Caro, who admits this book is a sort-of collection of memories and notes for a coming memoir, says biography must be a visual medium to be successful, and that “silence is the weapon” in interviews. The author’s real weapon is total immersion, and the lonely-by-necessity Lyndon Baines Johnson scribe makes many top-notch American presidential biographers into little more than weekend historians by comparison. The man who hates the unanswered question has decided to ask every single one, repeatedly if necessary, no matter how long, or where, it takes.

71-Word Review of “Avengers: Endgame”

This epic is many things, among them a meditation of how powerful love, honor, duty and friendship can be, if among the right group of people. An extraordinary end–and make no mistake, it is an ending! Deserves its place among the greatest superhero films ever made, even if detractors will correctly point out that it’s the sequel to 21 films, one that mined all its predecessors to create a perfect-hits collection.