A Brief Analysis About the Drug Addiction by Youths in India

People have been taking the drug in various forms for many years for enjoyment, relaxation, sleeping, stimulation, or another reason. In the starting, people takes the drug for taste and alter the consciousness, behavior, mood, and thoughts but he/she becomes habitual and dependent on any substance use disorder such as alcohol, tobacco, cannabis, ecstasy, cocaine, methamphetamine, and heroin, amphetamines, or illegal drugs. As per my thoughts and watching surroundings, if you ask a drug intake person “how do you become a drug addictive”? Most people will answer this “they started taking the drug in their friend circle, at relatives home or with relationship partner”. The first time they take it for taste or due to forcing by someone but after some time this becomes a habit. Peer pressure can fall you in this black world. Also, if someone has family history of addiction then he/she may chance to catch this addiction and make habitual others as well. So good friend circle really matters. Drugs such as heroin and marijuana are structured in the same way as chemical messengers known as neurotransmitters. These neurotransmitters are produced naturally by the human brain. As a result of this similarity, the drugs can fool the receptors of human brain and activate the nerve cells in such a way that they send some abnormal messages. In case of drugs like methamphetamine and cocaine, the nerve cells get activated and they release extraordinarily large volumes of neurotransmitters. They are also capable of preventing the brain from recycling these chemicals in a normal manner. A normal level of production is necessary in order to end the signal between neurons. Keywords: Alcohol – Beer, Wine, & Liquor, Opioids – Heroin, Fentanyl & Oxycodone, Cannabinoids – Marijuana & Hashish, Benzodiazepines – Ativan, Valium & Xanax, Stimulants – Adderall, Cocaine & Meth.

Living in Between: A Grounded Theory Study of Depression Among Middle-Class Black Women

Empirical evidence consistently has linked the identification and treatment of depression among low-income Black women. Research on depression and Black women also suggests Black women are a monolithic group who experience depression similarly. The purpose of this qualitative study was to gain a deeper understanding of how the identity of middle-class Black women may shape their experiences with depression. Using grounded theory as the guiding method, I conducted 30 in-depth, semistructured interviews with Black women between 30 and 45 years old who self-identified as middle class. The core experience of depression among middle-class Black women was “living in between” because they straddled two worlds—one Black world and one White world—with competing sociocultural messages about depression. Two major categories emerged that informed the experiences of depression among the middle-class Black women in this study: (a) strategies to deal with depression and (b) minimizing depression. Each of these categories highlighted consequences for the women’s mental health. The women also described coping strategies for managing these experiences. Implications for research and practice are included.

Waterbearer: A Reading From the Book of...

In the following piece, I examine the relationship between color and water (Baby Suggs and Beloved) in Toni Morrison's novel, Beloved, as a type of synesthetic coping mechanism meant to disrupt the encroaching normalization of an anti-Black world postslavery. Early in the text I posit two questions: What if Baby Suggs’ appetites shifted, not as some kind of woeful trauma response but as a very deliberate solution to the problem of a world where everyone else’s senses lie askew? What if Beloved likewise rose up from the water, not as a vengeful haunting but a haintful reminder for those living who had lost their way? Building upon this theory, I expand its reach to establish a continued relationship to water and the sensory which Black people have inherited today as our own surreal legacy - one which requires a constant mental reorientation toward freedom. In constructing my thesis, I reference Beloved but also several other critical works of Uction, nonUction, poetry, visual art, Ulm, and sound, each framed as meditation on a particular color and liturgical text ("a reading from the book of... ") to create a mixed media ekphrasis that mimics the surreal in both citation and physical form. The Unished product can be described, at its simplest, as a braided creative nonUction essay or, at its most complex, as a hybrid blend of cultural commentary, personal essay, poetry, and scholarly article.

Homenagem: Remembering the Life and Work of Abdias Nascimento

This essay provides a brief introduction to this special issue focused on the life and work of Black Brazilian scholar-activist Abdias Nascimento. The contributors include, Vera Lucia Benedito, Ollie Johnson, Zachary Morgan, Elisa Larkin Nascimento, and Cheryl Sterling who all participated in a 2015 conference at Africana Studies at Brown University. This group of scholars aptly illustrate that Nascimento had long contributed to the internationalization of Black Studies as a field in US academe and he was crucial in establishing Brazil as a central component of the Black World. The essays have much to teach us about Nascimento’s views on the relationship between art and politics, the role of military service in shaping his activism, the significance of black politicians in the reconceptualization of Brazilian democracy, and the importance of preserving archives and expanding our understanding of the Black radical tradition.

Peter Abrahams’s Island Fictions for Freedom

When South African–born Peter Abrahams moved to Jamaica in 1956, he thought he had found a racial paradise. Over the next six decades as a Jamaican, his understanding of race in Jamaica was complicated after independence. His last two novels—This Island Now (1966) and The View from Coyaba (1985)—fictionalize the transition to independence in the anglophone Caribbean and how that transition related to the set of concerns unfolding across the rest of the black world. This essay traces Abrahams’s thought on questions of race and decolonization through a close reading of his Caribbean fiction and how he came to theorize the literal and conceptual space of the Caribbean—the island—as a strategy for freedom. In so doing, the author asks, What are the limits of the Caribbean novel of the era of decolonization (1960s–80s) in the anglophone Caribbean? What constitutes it? And how does it articulate liberation?