Octavia Butler

Author(s):  
Rebecca J. Holden

Octavia E. Butler (b. 1947–d. 2006), one of the first African American science fiction (sf) authors, remains the most prominent African American women science fiction author. She was born to Laurice and Octavia M. Butler in Pasadena, CA. Her father died when she was a toddler and she was raised an only child by her mother and grandmother. Her family called her “Junie” but most of her friends called her Estelle. An avid reader her entire life, Butler wrote her first sf story when she was about twelve years old after she watched sci-fi B-movie “The Devil Girl from Mars” and realized she could write a better story. She earned an associate’s degree from Pasadena City College and took classes at both Cal State and UCLA. At the behest of Harlan Ellison, whom she met at the “Open Door” Workshop, she attended the Clarion Science Fiction Writers Workshop in 1971, after which she sold her first two stories, one of which, “Crossover,” was published in 1971. She published her first novel, Patternmaster, in 1976, and went on to publish a total of twelve novels, seven short stories, and ten Essays. Two additional short stories, both written early in her career, were published posthumously in 2014. Butler also gave numerous Interviews and presentations at sf conventions and conferences. Her writings transformed the science fiction field by showing us futures—usually difficult futures—in which African American women play primary roles and futures in which being black was not exceptional. She brought together multiple genres—slave narrative, fantasy, science fiction, dystopia, historical narrative, and vampire literature—and transformed sf tropes—including alien invasion, first contact, post-apocalypse, cyborgs, genetic manipulations, and others—in her boundary-breaking sf. Butler often commented that her fiction addressed three sometimes overlapping audiences: those interested in feminism, African American literature, and science fiction. Her fiction was nominated for and won the top science fiction awards, including two Hugos, two Nebulas, two Science Fiction Chronicle awards, and a Locus award. Butler was the first sf author to receive a MacArthur “genius” grant (1995) and also won a Lifetime Achievement Award in Writing from the PEN American Center (2000). Butler’s fiction and life has had a significant influence on the sf genre and field. Teaching at Clarion West, participating in panel discussions, and offering advice and mentorship, Butler inspired many from the recent generation of sf writers of color and has been claimed by the Afrofuturism movement. Her untimely death rocked the sf world, depriving society of a necessary critical and intuitive voice.

2017 ◽  
Vol 11 (2) ◽  
pp. 121-154
Author(s):  
BENJAMIN GIVAN

AbstractThis article addresses issues of translation and transnational exchange, taking as a case study the two-pronged collaborative relationship between the French jazz singer, lyricist, and translator Mimi Perrin (1926–2010) and the African American trumpeter Dizzy Gillespie (1917–1993), whose memoir Perrin translated into French and with whom she collaborated on a 1963 jazz album. Perrin, who is the article's principal focus, founded the successful vocalese singing group Les Double Six in 1959 and then, after abandoning her musical career for health reasons in 1966, forged a new career as a literary translator. The article begins by examining her work as a translator of African American literature and demonstrates that her French edition of Gillespie's autobiography lacks some of the original's connotative cultural signification, in particular meanings conveyed through the book's use of black dialect. The article then turns to Perrin's work as a vocalese lyricist, which is notable in that she conceived of her lyricization of jazz improvisations as a sort of translation process, one that involved carefully selecting words in order to mimic the sounds of musical instruments. Her musical innovations are exemplified by a series of original French texts, set to Gillespie's music, on science fiction themes.


2017 ◽  
Vol 1 ◽  
pp. 183
Author(s):  
Maika Aira Gallardo

ResumenThe presence of gender violence in the media has led to the misconception that it is a social problem of the twenty-first century. However, in the literature of the last century, it can be seen that this phenomenon has always been present. Through the analysis of the play for colored girls, written by Ntozake Shangue, this essay will explore the situation of African- American women in American society in the twentieth century, focusing on the constant presence and threat of sexual violence suffered by the seven protagonists in a society where they suffer double discrimination.Key words: sexual violence, African American, literature, trauma.Título en español: “Women Relinquish All Personal Rights in Front of a Man”: análisis de la violencia sexual en For Coloured Girls de Ntozake Shange.Resumen: La presencia de violencia de género en los medios de comunicación nos ha llevado a la idea errónea de que se trata de un problema social del siglo XXI, pero si nos sumergimos en la literatura del siglo pasado, descubriremos que este tema siempre ha estado presente. En este ensayo, exploraremos la situación de las mujeres afroamericanas en la sociedad estadounidense en el siglo XX a través del análisis de la obra de teatro for colored girls de Ntozake Shangue, centrándonos en la constante presencia y la amenaza de la violencia sexual que las siete protagonistas padecen en una sociedad donde son doblemente discriminadas.Palabras Clave: violencia sexual, afroamericana, literatura, trauma.


2016 ◽  
Vol 7 (1) ◽  
pp. 15-22
Author(s):  
Aisha T. Asby ◽  
Angela M. Bowman Heads ◽  
Joseph W. Dickson

Risk factors such as depression and low SES often affect an HIV infected mother’s ability to function within her family. Spirituality may interact with such risk factors contributing to the resiliency of these mothers. The current study explored spirituality’s influence on the relationship between depression and perceptions of family functioning in African American women living with HIV. High levels of spirituality were associated with decreased psychological distress and spirituality served as a significant predictor of family cohesion. Findings from this study support the importance of spirituality in the lives of African American women living with HIV and their families.


PMLA ◽  
2007 ◽  
Vol 122 (3) ◽  
pp. 728-741
Author(s):  
Holly Jackson

Though she has long been considered a pioneer of black women's writing, there is no evidence to suggest that Emma Dunham Kelley-Hawkins, author of Megda and Four Girls at Cottage City, was African American. This author considered herself racially white, as did every recorded member of her family before her. Instead of simply asserting her whiteness to correct the “mistake” of her racial categorization in the scholarly reception of her novels, this essay explores the uses of authorial racial identity in critical practice. Reading the obsessive concern with skin color in Four Girls at Cottage City demands not only further consideration of Kelley's work alongside African American literature but also attention to issues of white racialization at the turn of the century. However we identify Kelley, the critical history and continued interpretation of her work provide a rare opportunity to observe the consequences of destabilizing an author's identity or, more precisely, recognizing identity as unstable.


2021 ◽  
Vol 58 (1) ◽  
pp. 5625-5635
Author(s):  
Dr. Dhiffaf Ibrahim Al-Shwillay, Dr. Raindrop Wright

the traumatic memory of their ancestors. The novel navigates sites of trauma, memory, and blues music while resisting the bourgeoisie-capitalist relationships that permeated not only white society but also African American communities. Jones’s novel presents the plight of an African American woman, Ursa, caught between the memory of her enslaved foremothers and her life in an emancipated world. The physical and spiritual exploitation of African American women who bear witness to the history of slavery in Corregidora materializes black women’s individuality. This article is framed by trauma studies as well as the Marxists’ concepts of commodification, accumulation, and production. Ursa, one of the Corregidora women, represents a commodified individual in her own community. However, in Ursa, Jones writes a blacks woman’s voice that undermines, interrupts, and destabilizes the patriarchal dynamic of America. Corregidora is a novel that forms from a black women’s perspective that refuses the enslavement of African American women’s bodies, hi/stories, and voices (both during and post-slavery). 


Author(s):  
Treva B. Lindsey

This chapter introduces one of the most understudied communities of New Negro writers. Commencing in the 1920s, African American writer Georgia Douglas Johnson invited writers to her home on Saturday evenings to encourage the development of a cohesive and supportive community of black writers. With a particular emphasis on the writing of African American women, the S Street Salon evolved into a viable space for African American women writers to workshop their poems, plays, short stories, and novels. Many of the New Negro era literary works produced by African American women participants of the S Street Salon tackled politically significant and contentious issues such as racial and sexual violence and women’s reproductive rights. Most of the well-known New Negro writers participated in a Saturday session at the S Street Salon. The S Street Salon was arguably one of the most significant intellectual, political, and cultural communities of the New Negro era. This community pivoted around African American women’s expressivity. The women of the S Street Salon inserted their stories and their voices into black public culture through creating an African American women-centered counterpublic.


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