Wednesday, August 28, 2013

Martin Luther King: March on Washington Turns Fifty

50 Years Later, A March On Washington Among Generations

by Hansi Lo Wang

NPR August 24, 2013 3:00 PM

They came by the beat of drums: grandparents with their grandchildren, community organizers and activists, church members and college students.

A slow, early-morning trickle of foot traffic out of the subway and off tour buses grew into a steady stream. By mid-morning, thousands filled around the reflecting pool in front of the Lincoln Memorial for of the March on Washington for Jobs and Freedom.

Many carried blue-and-yellow, poster board signs distributed by NAACP volunteers like Moné Armah of Houston, who stood by boxes where marchers could choose from a menu of printed slogans — from "We March For Jobs And Freedom" to "Protect Voting Rights."

The signs echoed similar calls for economic opportunities for all Americans 50 years ago. Back then, Todd Endo of Amissville, Va., helped carry a blue banner calling for "Better Americans For A Greater America," as he, his mother and other members of the Japanese American Citizens League walked across the National Mall.

Endo, now 71, stood near the reflecting pool while Martin Luther King Jr., declared his dream to the world. But Endo couldn't hear King's words. "The audio [system] wasn't very good. They had no video," he explained. "You could barely see the Lincoln Memorial, so we didn't hear any of the speeches."

Fifty years ago, Jo Ann Johnson from the Bronx in New York City also stood on the National Mall. She was barely a teenager then. This time she arrived early with a folding chair and sandwiches for a better view of the speaker's podium.

Johnson recalled the metaphorical "check" from America's "bank of justice" that King mentioned in . The check was supposed to extend "the riches of freedom and the security of justice" to all African-Americans. But Johnson said as an African-American in 2013, she's "still waiting for the check."

Just two years old when King spoke, Eric Cole of Cincinnati was too young to understand the struggle in 1963. There's been progress over the years, but he said he's a "realist."

"I'm not looking for any miracles" to come out of the march's commemoration, Cole explained. "But I'm hoping that at least the consciousness will be raised about high unemployment."

Consciousness was just one of the goals for the national leaders who spoke on the steps of the Lincoln Memorial.

Attorney General Eric Holder emphasized that America's struggle for justice will go on "until every eligible American has the chance to exercise his or her right to vote, unencumbered by discriminatory or unneeded procedures, rules, or practices" and the criminal justice system "can ensure that all are treated equally and fairly in the eyes of the law" — references to at the Justice Department under his leadership.

Other speakers called for the repeal of "stand your ground" laws, a central focus in the Florida trial and acquittal of George Zimmerman for the killing of teenager Trayvon Martin. Myrlie Evers-Williams, widow of the slain civil rights activist Medgar Evers, urged the crowd to apply a different meaning to the name of the controversial law.

"We can think of 'standing your ground' in the negative." Evers-Williams said. "But I ask you today to flip that coin. Stand your ground in terms of fighting for justice and equality!"

Evers-Williams represented an earlier generation of civil rights leaders who took to the podium. That generation, Rev. Al Sharpton underlined in his keynote speech, paved the way to success for younger generations.

"You got there because some unleaded grandmas, who never saw [an] inside of a college campus [and] put [their] bodies on the line in Alabama and Mississippi and sponsored you up here," said Sharpton, founder and president of the National Action Network, which helped organize Saturday's event.

Cory Booker, the 44-year-old mayor of Newark, N.J., and U.S. Senate candidate, directed his speech to his peers who, like him, "were not even alive" for the 1963 March on Washington.

"I call upon my generation to understand that we can never pay back the struggles and the sacrifices of the generation before," he said. "But it is our moral obligation to pay it forward."

It's a call to action that inspires Kwanzaa Nivens, 38, of Washington, D.C.

"Just to hear what a lot of people went through 50 years ago to get us to where we are today, it really motivates me to do more."

For Nivens, doing "more" on Saturday meant marching to the Martin Luther King Jr. Memorial and then the Washington Monument in her tennis shoes. She'll lace them up again on Wednesday as a volunteer at another commemoration on the March on Washington's official 50th anniversary.

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Thursday, August 1, 2013

Doggies in the Pews

Sweet

"Dog Attends Daily Mass at Church Where Dead Owner Used to Go"

By Spooky on January 17th, 2013

Ciccio, a 12-year-old German shepherd, whose owner passed away two months ago, visits the church she used to frequent and where her funeral was celebrated, patiently waiting for her to return.

The people attending the church of Santa Maria Assunta in San Donaci, Italy have received a lesson in love and loyalty from a dog that for the past two months has been coming in for the daily mass, hoping his beloved owner would return. Local Maria Margherita Lochi, 57, had adopted Ciccio years ago, after she found him abandoned in the fields near her home. She was an animal lover who had taken in several stray cats and dogs, but her connection with Ciccio was special. Apparently he felt the same way, as even though Maria died two months ago, the dog keeps coming back to the place he last saw her. She would walk with him to the church, for the daily Mass, and the priest would allow him to wait patiently at her feet. He was even there with Maria’s loved ones at her funeral. But Ciccio seems to have a tough time letting go, and he comes back into the church each day, as soon as he hears the bells calling in the faithful for the Holy Mass. He just sits by the side of the altar, quietly, hoping Maria will come back…

“He’s there every time I celebrate Mass and is very well behaved – he doesn’t make a sound, I’ve not heard one bark from him in all the time he has been coming in,” says Father Donato Panna. “He’s still coming to Mass even after Maria’s funeral, he waits patiently by the side of the altar and just sits there quietly. I didn’t have the heart to throw him out – I’ve just recently lost my own dog so I leave him there until Mass finishes and then I let him out.” Everyone in San Donaci has been so impressed by Ciccio’s loyalty to his owner that they decided to adopt and look after him.

This kind of heart-breaking stories never cease to impress me. I posted quite a few of them on OC, if you’re looking to shed some tears: Capitan, who has been living by his owner’s grave for 6 years, Leao, the dog who lost his master to landslides in Brazil, or the Russian dog who stood guard over his mate’s body for a week, after she was hit by a car. Tragic stories that make me appreciate dogs even more.
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Ariel Gonzalez Interviews Preston L. Allen on WLRN radio

Religion has often played a role in Preston L. Allen's fiction, but perhaps never more so than in his new novel, "Jesus Boy." Set in Florida, it follows a group of black fundamentalists who have trouble distinguishing the sacred from the profane. Allen has won praise for his accessible style, raunchy wit, and compassion for human foibles.

Literary contributor Ariel Gonzalez spoke with Allen. He began by asking him why there was so much sex in his work. The interview begins with Allen's reply.

Reading at the Pen Festival 2010

May-June 2010, New York, NY

Preston L. Allen reading at the Pen with Javier Cercas, Siri Hustvedt, Karl O. Knausgaard, Anne Landsman, Thomas Pletzinger, Monique Proulx, Lee Stringer, Christos Tsiolkas, and Tommy Wieringa

Book Review: Chicago Center for Literature and Photography



Regular readers know that I believe the key to a successful novel to be the combination of an exciting plot and deep characterization; but if I'm forced to choose only one or the other in any particular book, I think it's clear by now that I generally prefer the former over the latter, in that stories featuring barely-defined characters doing interesting things tend to be inherently more entertaining in my head than ones where interesting people sit around doing nothing. So I'm always excited, then, when I come across the rare character-heavy novel that I end up liking quite a bit; take for example the recently released Jesus Boy by Florida professor Preston L. Allen, author of the previous gambling novel All Or Nothing which also garnered quite a bit of praise, both of which were put out by our pals at Akashic Books, who in the last few years has seemed almost incapable of making a wrong move. I thought today, then, I would take the opportunity to do an actual analytical examination of what makes this such a great character-driven novel when so many others fail so spectacularly at it, as a way of hopefully passing along a few tips to fellow writers out there who are struggling over the same issues; because believe me, Jesus Boy is an almost textbook example of how to put together an intriguing and page-flipping yet plot-light story, and it's no wonder that Akashic signed this despite it having little to do with the subversive culture and hipster characters that define most of the other titles in their catalog.

As you can imagine, step one with books like these is to create a fascinating milieu for your characters to inhabit, which Allen does: he in fact sets this book within the world of radical Protestant churches in rural south Florida with mostly black congregations, the kinds of groups with names like "The Holy Rollers" who consider even Southern Baptists to be timid wannabes, and who create elaborate conservative moral codes for their members which often contradict themselves in their specific rules. And indeed, that's what makes this milieu so fascinating, is that as human beings, the desires of these groups' members often come into direct conflict with the restrictive code of behavior they are trying to maintain; and this is in fact what Allen mostly examines in Jesus Boy, the various ways that the private lives of his expansive cast betray their public lives as the religiously pious, and the ways these schisms affect the long-term lives of these characters over the course of approximately half a century and several generations, from roughly the Jim Crow 1940s to the hiphop 1990s.

Now of course, this particular milieu is also ripe for easy, lazy stereotyping -- after all, it's these organizations that spawn most of our nation's televangelists -- which leads to my second tip concerning such novels, that they require not only fascinating environments but unique and compelling looks at these environments; and this Allen also does, centering the tale around the complex "Jesus Boy" of the book's title, a naturally gifted piano player who was hailed by his church at a young age as a zealous musical warrior for God, and who then struggles for the rest of his life over the balance between his spirituality and his heathen side, complicated even further by his decades-long secret relationship with a MILF-like older church member (during their first tryst, he's 16 and she's 42), as well as his manytimes humorous multicultural adventures at the secular state university he ends up attending. This then leads us to a closer examination of his lover as well, who turns out to have had a very similar experience in her past but that time playing the younger role, which as the novel progresses we learn is tied in complicated ways to the muddled lives of all the other characters, which then drops us down the rabbithole of how crazy and screwed-up all these relationships within the church are, filtered by such factors as pre-civil-rights

segregation, the expectations of "manliness" within African-American society, the disconnect between what we want and what we can have, and of course the all-important public face of respectability that members of the church are expected to wear at all times.

This then nicely leads us to my third tip concerning character-heavy novels, that if you're to attempt a story light on action scenes, it's important to make those scenes count for as much as possible; and it's here that Allen really shines, in that like Michael Chabon, all of his well-placed plot-oriented moments serve as true catalysts for twisting the entire story in a new direction, delivering by the end what's still a deep character study but that is quickly-paced and always inspires you to excitedly wonder what's next, whether that's the occasional fistfight or discovery of infidelity, a flight from the law or the disgrace of a popular preacher. And that of course leads to my fourth tip concerning such books, the one probably best known already, that when you choose to write a story based mostly on character, it helps to give that story a strong sense of personal style as well; and here too Allen is just great, penning the entire manuscript in a way that's both poetic and easy to read, and with a sly humor that complements very well the unhurried Southern story he's telling.

Add all these things up, like I said, and you have that special rare character-oriented novel that reads like an airport thriller, not just lively and entertaining but that gets you thinking about all kinds of subjects for the first time, or at least thinking about them in new ways. As with many recent Akashic books, I suspect that Jesus Boy will be popping up again in one of my best-of lists at the end of the year, and it comes highly recommended today whether or not you're a natural fan of character-heavy stories or fundamentalist Christians.

Out of 10: 9.3

by Jason Pettus

Review of Jesus Boy by Geoffrey Philp, Author of Who's Your Daddy and Other Stories

Just when you thought it was safe to go back to church, Preston Allen writes Jesus Boy, a story about a young Christian, Elwyn Parker, who falls in love with an older woman, Elaine Morrisohn, a matriarch in the Church of Our Blessed Redeemer Who Walked Upon the Waters. In many ways this was a difficult book to review, not only because Preston Allen is my friend and colleague at Miami Dade College, but also because of my own history with fundamentalist Christianity and Preston’s ability to depict the tortured consciousness of a teenage true believer at war with his faith and his flesh:

"At sixteen, I met my first great temptation, and I yielded with surprisingly little resistance, I who had proclaimed myself strong in the Lord. There had been, it seems, a chink in my armor, through which Satan had thrust his wicked sword" (34).

And as if dealing with his hyperactive conscience wasn’t enough, Elwyn’s plight is exacerbated by Elaine Morrisohn’s deliberate pursuit of him, even during church services:

"As she sat down with a satisfied smile on her face, she knew she was being naughty. She shouldn’t have shouted like that, but she was trying to send him a message by shouting like she did during orgasm…She just wanted to rip off her clothes and fly to him. He was so tight and so fresh and so full of juice…he was a lean, strong fresh-tasting black boy—he looked good enough to eat" (77).

But Elwyn wants to be saved. Desperately. Yet the God that Elwyn serves is a God of wrath who is eager to punish sinners, especially women who wear pants or jewelry and who listen to “worldly” music. Growing up in this kind of environment Elwyn becomes a holier-than-thou preacher—an attitude that he exhibits long after he has left the fold:

"God’s people have to be apart. They have to be different. Christians these days—I don’t understand them at all. They go to parties, they drink, they have premarital sex, they wear the fashions of the world. Even the music. These days you can’t tell the difference between a church song and hip hop" (361).

What is remarkable about Jesus Boy is Allen’s use of point of view. He writes as an insider, someone who knows the secrets within the black community and reports the intimacies of people who want to live, love, and praise God. And he does this without resorting to stereotypes or clichés. Allen explores the black family and black religion without the filters of white validation, effectively banishing the "double consciousness" theory of W. E. B. Du Bois. The characters in Jesus Boy exist in a milieu in which whites exist peripherally. Jesus Boy asserts without rancor: This is our story.

And this perhaps is one of the major accomplishments of the novel. Allen uncovers the hypocrisies within the black church in the way that James Baldwin’s Go Tell It On The Mountain exposed the vision of its adherents—a world divided not along racial lines, but between the “saved” and the unsaved. And because being “saved” requires denial of the most basic human impulses, the “saved” are always in state of guilt over the state of their soul:

"Demons, I was certain, frolicked in my room after the lights were turned off. At night, I watched stricken with fear, as the headlights of passing automobiles cast animated shadows on the walls of my room. Only God, who I believed loved my singing voice, could protect me from the wickedness lurking in the dark. Thus, I sang all of God’s favorite tunes—hummed when I didn’t know the words—in order to earn his protection" (13).

There is much to admire about Jesus Boy. From the cover designed like an old family Bible to the genealogy list of the begetting that took place in Elwyn’s family, the novel has hints of Faulkner with an oversexed patriarch and a family history of incest, abuse, and illicit romance. Preston Allen has truly written what Dennis Lehane has deemed a “tender masterpiece.”

***

Preston L. Allen, a recipient of a State of Florida Individual Artist Fellowship, is the author of the critically acclaimed novel All or Nothing (Akashic) and the award-winning collection Churchboys and Other Sinners (Carolina Wren Press). His stories have appeared in numerous magazines and journals and have been anthologized in Brown Sugar (Penguin), Miami Noir (Akashic), and Las Vegas Noir (Akashic). He lives in South Florida.

The Spectator: Review of Jesus Boy

BOOK: ‘Jesus Boy’ by Preston L. Allen

If the church’s name isn’t intense enough, Our Blessed Redeemer Who Walked Upon The Waters has an intense set of rules and lifestyle regulations to match in Preston Allen’s latest novel.

The novel follows one Elwyn Parker, a member of the Our Blessed Redeemer congregation who firmly abides by its teachings: no drinking, no smoking, no coffee, no secular music and no pants for women. But of course the story doesn’t just explicate the strictness of the church; it explores the turmoil running beneath its surface, and the primal urges common to all of its members. These primal urges compel Parker to explore the taboo topics that exist outside of his church’s borders—which means just about everything non-religious that life has to offer.

The book is equal parts an exploration of church-sexy and sex-sexy, and it provides an intriguing, sometimes gripping glance into the psychology of a person wrestling with the nature of religiously-imposed restriction.

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Miami, Florida, United States
Preston L. Allen is the author of eight works of fiction, including the hard-hitting novel All or Nothing and the award-winning short story collection Churchboys and Other Sinners. He is a recipient of a State of Florida Individual Artist Grant and the Sonja H. Stone Prize in Fiction. His stories have appeared in numerous literary anthologies and journals including Las Vegas Noir, Miami Noir, the Seattle Review, Drum Voices, Brown Sugar, and Black Renaissance Noire. His novels Every Boy Should Have a Man, All or Nothing, and Jesus Boy have received rave reviews from the New York Times, the Feminist Review, the Chicago Tribune, and O, the Oprah Magazine. The New York Times has called him “a cartographer of autodegradation,” and places his work on a continuum with that of Dostoyevsky, William S. Burroughs, and Charles Bukowski.