Rediscover the "most important book on black-white relationships" in America in a special 50th anniversary edition introduced by Henry Louis Gates, Jr. "The United States is in actuality not a nation of black people and white people. It is a nation of multicolored people. . . . Any fool can see that the white people are not really white, and that black people are not black. They are all interrelated one way or another." These words, written by Albert Murray at the height of the Black Power movement, cut against the grain of their moment, and announced the arrival of a major new force in American letters. In his 1970 classic The Omni-Americans, Murray took aim at protest writers and social scientists who accentuated the "pathology" of race in American life. Against narratives of marginalization and victimhood, Murray argued that black art and culture, particularly jazz and blues, stand at the very headwaters of the American mainstream, and that much of what is best in American art embodies the "blues-hero tradition"--a heritage of grace, wit, and inspired improvisation in the face of adversity. Reviewing The Omni-Americans in 1970, Walker Percy called it "the most important book on black-white relationships . . . indeed on American culture . . . published in this generation." As Henry Louis Gates, Jr. makes clear in his introduction, Murray's singular poetic voice, impassioned argumentation, and pluralistic vision have only become more urgently needed today.
The highly acclaimed novelist and biographer Albert Murray tells his classic memoir of growing up in Alabama during the 1920s and 1930s in South to a Very Old Place.
In this classic work of American music writing, renowned critic Albert Murray argues beautifully and authoritatively that “the blues as such are synonymous with low spirits.
In this visionary book, Murray takes an audacious new look at black music and, in the process, succeeds in changing the way one reads literature. Murray's subject is the previously unacknowledged kinship between fiction and the blues.
Black-and-white cattle with strange horns (from India, I was told) were scattered here and there. There was a farmhouse, white, with a tiled roof, and beyond that the bowl's rim seemed to rise and become a green-walled cliff.
The first book-length study of the writings, work, and life of Renaissance man and Alabama native Albert Murray This collection consists of essays written by prominent African American literature, jazz, and Albert Murray scholars, ...
Ten years ago, Michael Pollan confronted us with this seemingly simple question and, with The Omnivore’s Dilemma, his brilliant and eye-opening exploration of our food choices, demonstrated that how we answer it today may determine not ...
This absorbing collection of letters spans a decade in the lifelong friendship of two remarkable writers who engaged the subjects of literature, race, and identity with deep clarity and passion.
The Magic Keys winningly evokes the coming to maturity of one of the great characters in contemporary American literature: Scooter, the central protagonist of Albert Murray’ s highly acclaimed autobiographical novels Train Whistle Guitar, ...
Editors Henry Louis Gates Jr. and Paul Devlin present a definitive edition of Albert Murray's collected nonfiction, including his 1971 memoir South to a Very Old Place, inspiration for Imani Perry's South to America.
This is a story for our time—gripping, unsettling, prescient—by an acclaimed National Book Award finalist. “My favorite book by one of America’s great living writers.” —Jonathan Safran Foer “A provocative dystopian story . . . ...