Table of Contents Page 1. A BRIEF CONVERSATION WITH OCTAVIA E. BUTLER Page 2 - 4. Biography Page 5 - 9. Synopsis Page 9 - 14. Analysis of Criticism Page 14 – 15. Influences on Society Page 16. Footnotes Page 17. Bibliography A BRIEF CONVERSATION WITH OCTAVIA E. BUTLER 1. Who is Octavia E. Butler? Where is she headed? Where has she been? Who am I? I'm a 51-year-old writer who can remember being a 10-year-old writer and who expects someday to be an 80-year-old writer. I'm also comfortably asocial - a hermit living in a city-a pessimist, a student, endlessly curious; a feminist; and African-American; a former Baptist; and an oil-and-water combination of ambition, laziness, insecurity, certainty, and drive. 2. What have you written? Novels, short stories, and essays. I've had 10 novels published so far. They are PATTERNMASTER, MIND OF MY MIND, SURVIVOR, KINDRED, WILD SEED, CLAY'S ARK, DAWN, ADULTHOOD RITES, IMAGO, and PARABLE OF THE SOWER. Doubleday published the first five originally. Warner has reprinted WILD SEED, MIND OFMYMIND, CLAY’S ARK, and PATTERNMASTER. KINDRED has been reprinted by Beacon Press. DAWN, ADULTHOOD RITES, IMAGO, and PARABLE OF THE SOWER are available from Warner. Four Wails Eight Windows first published PARABLE. In 1995, Four Walls also published my short story collection, BLOODCHILD AND OTHER STORIES. One story in this collection, "Speech Sounds," won a Hugo award as best short story of 1984. The title story, "Bloodchild," won both the 1985 Hugo and the 1984 Nebula awards as best novelette. And speaking of awards, in the summer of 1995, I received a MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation. Her most recent book now is Lilith’s Brood published in the year 2000. 3. What were your educational preparations for a writing career? I graduated from Pasadena City College in 1968 (Pasadena, California is my hometown). Then I attended California State University, Los Angeles. I also took a few extension classes at UCLA. But the most valuable help I received with my writing came from two workshops. The first was the Open Door Program of the screenwriter’s Guild of America, West’ (1969-70). The second was Clarion Science Fiction Writers' Workshop (1970). 1 Biography Octav... ... middle of paper ... ...ction Genre: Interview with Octavia Butler." Black Scholar. 1986 Mar.-Apr., 17:2. 14-18. Butler, Octavia E. "Bloodchild." Bloodchild and Other Stories. New York: Seven Stories Press, 1996. 1-32. Kenan, Randall. "An Interview with Octavia Butler." Callaloo: A Journal of African-American Arts and Letters. Baltimore, MD (Callaloo). 1991 Spring, 14:2. 495-504. A BRIEF CONVERSATION WITH OCTAVIA E. BUTLER http://www.plcmc.lib.nc.us/novello/1999/listen/obutler.htm ESSAY ON OCTAVIA BUTLER http://www.towanda.com/sela/essay.htm Octavia Butler’s Xenogenesis Trilogy: A Biologist’s Response by Joan Slonczewski, presented at SFRA, Cleveland, June 30, 2000 http://www2.kenyon.edu/depts/biology/slonc/books/butler1.html Xenogeneis Patterns of Octavia Butler http://www.math.buffalo.edu/~sww/butler/butler_octavia0.html Voices from the Gaps Woman Writers of Color http://voices.cla.umn.edu/authors/OctaviaButler.html Octavia E Butler works and more. http://www.fantasticfiction.co.uk/authors/Octavia_E_Butler.htm Online Literary Criticism Collection Octavia E. Butler http://ipl.sils.umich.edu/cgi-bin/ref/litcrit/litcrit.out.pl?au=but-616
The author was born in Washington D.C. on May 1, 1901. Later, he received a bachelor’s degree from Williams College where he studied traditional literature and explored music like Jazz and the Blues; then had gotten his masters at Harvard. The author is a professor of African American English at Harvard University. The author’s writing
What defines an individual’s racial characteristics? Does an individual have the right to discriminate against those that are “different” in a specific way? In Octavia Butler’s works, which are mostly based on themes that correlate to one another, she influences the genre and fiction in ways that bring light to the problems of societies history. Through Kindred and the Parable of the Sower, Octavia Butler examines themes of community, racial identification, and racial oppression through the perspective of a black feminist. In each novel, values and historical perspective show the hardships that individuals unique to an alien world have to face. Through the use of fictional works, Butler is able to delve into historical themes and human conditions, and with majority of works under the category of science fiction, Butler is able to explore these themes through a variety of settings. This essay will discuss two of Butler’s popular works, Kindred and the Parable of Sower, and will interpret the themes of women, race, independence, and power throughout the two novels.
Anderson, John . Blooms bio Critiques Maya Angelo .bloom hall Pa, chelas house publishing's, 2002.
Warren, Nagucyalti. "Black Girls and Native Sons: Female Images in Selected Works by Richard Wright." Richard Wright - Myths and Realities. Ed. C. James Trotman. New York: Garland Publishing, Inc., 1988.
...lena Krstovic. Vol. 172. Detroit: Gale, 2012. Literature Resources from Gale. Web. 15 Apr. 2014.
Jackson, P. (1992). (in)Forming the Visual: (re)Presenting Women of African Descent. International Review of African American Art. 14 (3), 31-7.
Gwendolyn Brooks is the female poet who has been most responsive to changes in the black community, particularly in the community’s vision of itself. The first African American to be awarded a Pulitzer Prize; she was considered one of America’s most distinguished poets well before the age of fifty. Known for her technical artistry, she has succeeded in forms as disparate as Italian terza rima and the blues. She has been praised for her wisdom and insight into the African Experience in America. Her works reflect both the paradises and the hells of the black people of the world. Her writing is objective, but her characters speak for themselves. Although the idiom is local, the message is universal. Brooks uses ordinary speech, only words that will strengthen, and richness of sound to create effective poetry.
Unlike the earlier era, in which they had received freedom but it was so new to them, and they truly didn’t understand what it meant to be a free group, they began to move into a time period where they were finding their voice, and “finding their freedom”. Instead of writing about becoming free, and wanting freedom, they begin to act free. They begin to prove they were free by giving off confident in their culture and in their work. In her writing she has many different subsections where she rebuttals the ideas pushed onto the African American race. She proves the stereotypes wrong using the truth. The first example is, under the section titled “originality” she wrote, “it has been said so often that the negro is lacking in originality that has almost become a gospel. Outward signs seem to bear this out. But if one looks closely its falsity is immediately evident.” and , “So if we look at it squarely, the Negro is a very original being. While he lives and moves in the midst of a white civilian, everything that he touches is re-interpreted for his own use. He has modified the language, mode of food preparation, practice of medicine, and most certainly the religion of his new country, just as he adapted to suit himself the sheik haircut made famous by Rudolph Valentino.” this passage shows how much she believes in her race. She isn’t asking for anything from anyone. She doesn’t beg for respect, acceptance, or freedom, she is telling them to treat them like they are free. This passage really exemplifies the theme of accepting themselves and their culture during this time period. The African Americans were able to begin to stand up for themselves and up against the falsely acclaimed stereotypes that have been made against them. During this time period they were recreating the culture that had been taken away from them. They were finding their voice through
Chapin, Kate. “Desiree’s Baby.” The Heath Anthology of American Literature. Ed. Paul Lauter et al. Concise ed. Boston: Houghton, 2004. 1522. Print.
Shortly after Rachel was written in 1916, the New Negro Movement began to gain traction in the African American community. This broad cultural movement focused on promoting a public image of African Americans as industrious, urban, independent, and distinct from the subservient and illiterate “Old Negro” of the rural South. Unlike his predecessor, the New Negro was self-sufficient, intellectually sophisticated, creative, knowledgeable and proud of his racial heritage (Krasner, Beautiful Pageant 140). While these concepts had been promoted since the turn of the century, it was not until 1917-1918 that they began to crystalize as a concerted effort among African American intellectuals. These men actively supported the creation of black drama because they recognized that “At a time when African Americans had virtually no political recourse, their voice could best be heard through…a creative and humanistic effort to achieve the goal of civil rights by producing positive images of African Americans and promoting activism through art” (“New Negro Movement” 926). The New Negros therefore shared the same overall goal as black intellectuals such as DuBois, but believed that black artists should focus on presenting the reality and beauty of the “black human experience” instead of an idealized vision of what life should be. Ultimately, the transition from “political” art to that which held creativity in high esteem was complex and divisive. Fortunately, just as Dubois emerged as the primary advocate of the former Political Theatre, so too would Alain Locke help guide the New Negros to support the idea of Art Theatre.
Liscio, Lorraine. “Beloved’s Narrative: Writing Mother’s Milk.” Tulsa Studies in Women’s Literature, Vol.11, No.1 (Spring, 1992): 31-46. JSTOR. Web. 27. Oct. 2015.
Brown, Rosellen. “Honey Child.” Women’s Review of Books. Vol. 19. No. 7. Philadelphia: Old City Publishing. 2002. 11. Print.
Karenga, Malauna. Introduction to Black Studies. Los Angeles: University of Sankore Press Third Edition, 2002.
Hughes, Langston. The Negro mother, and other dramatic recitations. Freeport, N.Y.: Books for Libraries Press, 1971. Print.
Eudora Welty was born in 1909, in Jackson, Mississippi, grew up in a prosperous home with her two younger brothers. Her parent was an Ohio-born insurance man and a strong-minded West Virginian schoolteacher, who settled in Jackson in 1904 after their marriage. Eudora’s school life began attending a white-only school. As born and brought up under strict supervision and influence, at the age of sixteen she somehow convinced her parents to attend college far enough from home, to Columbus, Mississippi and then to Madison, Wisconsin. After graduation in 1930, she moved to New York to attend Columbia Business School. While living in New York, Harlem Jazz theatre occupied her more than her class did. She returned to Jackson in 1931 following her father’s untimely death, where she worked for a local radio station and also wrote articles for a newspaper. Later she worked as a publicity agent for the Works Progress Administration in 1935. As a part of her job she traveled by car or by bus through the depth of Mississippi, and saw poverty of black and white people, which she had never imagined before. This time photography became her passion. She was somehow influenced by black and Southern culture as seen in her novel or short story called “Some Notes on River Country” or “A Worn Path”.