As an organizer, author, writer, scholar-activist, and elected respectable, Barbara Smith has performed key roles in a number of social justice events, together with Civil Rights, feminism, lesbian and homosexual liberation, anti-racism, and Black feminism.
Her 4 a long time of grassroots activism cast collaborations that brought the concept oppression needs to be fought on a number of fronts at the same time, together with gender, race, classification, and sexuality. through combining hard-to-find historic files with new unpublished interviews with fellow activists, this e-book uncovers the deep roots of today's id politics and intersectionality and serves as a necessary primer for training cohesion and resistance.
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Additional info for Ain't Gonna Let Nobody Turn Me Around: Forty Years of Movement Building with Barbara Smith (SUNY series in New Political Science)
I never will. Because my family had education, because they had drive, and because they pooled their resources, we did not grow up in poverty. , uppity, stuck up]. We were a working-class, lower-middle-class family. When we were six years old, in first grade, our family made a decision to become homeowners. We moved from a house that we rented to a house that they bought and owned. It was a two-family house, 18 Ain’t G on n a Let N ob o dy Tur n Me Aro un d by no means luxurious. We lived on the first floor—our grandmother, our mother, our great-aunt, sometimes another great-aunt, and Beverly and myself.
My growing up years were affected by that experience; people still had a collective memory of how slavery had shaped our goals and our desires. Black people were not thought of as human beings. At the very most, we were considered inferior human beings. The people who I grew up with, they were bound and determined to prove that wrong. They were bound and determined to say, “We’re not going to fall into the stereotypes. ” Our aunt used to take us to the Cleveland Museum of Art, our public schools went to concerts performed by the Cleveland Orchestra on a regular basis, we got introduced to live theater as children because Karamu House was a launching pad for Black actors and performers.
In Frontiers: A Journal of Women’s Studies. Copyright © University of Nebraska Press, University of Nebraska Press, 1980. Reprinted with permission of University of Nebraska Press. C h a pte r 5 Modern Language Association Commission on the Status of Women in the Profession. ” Copyright © the authors, 1976. Reprinted with permission of Gloria De Sole, Joan Hartman, Ellen Messer-Davidow, Deborah Rosenfelt, Cynthia Secor, and Barbara Smith. Barbara Smith. ” Copyright © The New Statesman, The New Statesman, 1984.
Ain't Gonna Let Nobody Turn Me Around: Forty Years of Movement Building with Barbara Smith (SUNY series in New Political Science)