MamaliciousNoire

Who's Your Mama?

15,938 notes

chescaleigh:

reverseracism:


Hoping to get this boosted, because maybe it can save someone from hard times and get them a job at whatever establishment this racist ass manager is at.  (this was on NYT FB article posting about a (Black) mother Google searching her unborn child’s name to see what connotations and future it could hold for him)

And then you have people justifying this action. But a meritocracy exists right?

Andrew Moskowitz works for The Cotton Warehouse (how ironic), which is an event space in Atlanta Georgia. His supervisors Paul Rosenthal and Dawn Page, can be reached on Monday, 9/23 at (877) 305-6455. Thank you to @WeSeeRace and @HolzmanTweed for tracking down this info, verifying that he is employed there and also getting screen caps of previous racist Facebook statuses. Andrew, I hope you realize the error in your ways when you realize how difficult it is to find a new job because your racism has been exposed online for the entire world to see.

chescaleigh:

reverseracism:

Hoping to get this boosted, because maybe it can save someone from hard times and get them a job at whatever establishment this racist ass manager is at. 

(this was on NYT FB article posting about a (Black) mother Google searching her unborn child’s name to see what connotations and future it could hold for him)

And then you have people justifying this action. But a meritocracy exists right?

Andrew Moskowitz works for The Cotton Warehouse (how ironic), which is an event space in Atlanta Georgia. His supervisors Paul Rosenthal and Dawn Page, can be reached on Monday, 9/23 at (877) 305-6455. Thank you to @WeSeeRace and @HolzmanTweed for tracking down this info, verifying that he is employed there and also getting screen caps of previous racist Facebook statuses. Andrew, I hope you realize the error in your ways when you realize how difficult it is to find a new job because your racism has been exposed online for the entire world to see.

0 notes

"O’Donnel told [12-year-old daughter], ‘This is the perfect reason why you need to work. You don’t have to make a million dollars. You don’t have to have a wealthy lifestyle. You just always have to be able to at least earn enough so you can support yourself.’


“Nine years ago, O’Donnel was promoting a very different message. She was a spokeswoman of sorts for a group of women — highly educated, very accomplished, well-paid professionals with high-earning spouses — who in the early 2000s made headlines for leaving the work force just when they were hitting their stride. They were a small demographic to be sure (another, larger, group who left the work force at that time — poor mothers who couldn’t afford child care — went without notice), but they garnered a great deal of media attention.”

Source: http://www.nytimes.com/2013/08/11/magazine/the-opt-out-generation-wants-back-in.html?pagewanted=1&_r=4&hp

There’s a lot to be said about this NYTMag piece, and mama writers I admire are saying it around the blogosphere, but my reaction was simply to this quote above.  A LARGER GROUP of women also leave the workforce at the same time, for a very compelling reason, and they STILL haven’t garnered a fraction of the media attention that this “small demographic” garnered and is STILL GARNERING as evidenced by this piece that references multiple “Where are they now?” follow-up interviews with this same cohort.  How revealing this is about what we value and what we care about as a culture.  Mothers who are already poor leave the workforce because they couldn’t afford childcare….I care far more about what happened to them and their children, 10 years later.  

131,930 notes

Writing Advice: by Chuck Palahniuk

In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.

From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.

The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.

Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”

Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”

Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.

Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”

In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.

Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.

For example:
“Brenda knew she’d never make the deadline. was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”

Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.

If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.

Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.

Don’t tell your reader: “Lisa hated Tom.”

Instead, make your case like a lawyer in court, detail by detail.

Present each piece of evidence. For example: “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”

One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.

For example: Waiting for the bus, Mark started to worry about how long the trip would take…”

A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”

A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.

Oh, and you can just forget about using the verbs forget and remember.

No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”

Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”

Again, Un-pack. Don’t take short-cuts.

Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.

And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”

For example:
“Ann’s eyes are blue.”

“Ann has blue eyes.”

Versus:

“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”

Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.

And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”

Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.

(…)

For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.

Then, pick through some published fiction and do the same thing. Be ruthless.

“Marty imagined fish, jumping in the moonlight…”

“Nancy recalled the way the wine tasted…”

“Larry knew he was a dead man…”

Find them. After that, find a way to re-write them. Make them stronger.

(via 1000wordseveryday)

I need to go back to school.

(via cordeliagablewrites)inspiration

(via thescienceofobsession)

My learning is ofwficially insignificant. My writing minor and all those classes do not make me as qualified as reading this has.

(via kikukachan)

(Source: redactedbeastie, via guerrillamamamedicine)

187,435 notes

crissle:

escapedgoat:

ramblingsofanurbanjawn:

iridessence:

so-treu:

blackfoxx:

mimicryisnotmastery:

lyricsbygreg:

dominiquetheuniquefreak:

negritaaa:

just click, i promise you its not what you’re expecting.

lmao!!!!

made my day.

hahahahahaha

Omg so perfect lmao!!

that was freaking awesome

this is literally one of the best things to have ever appeared on my dash.

I….was not expecting that. 

fghfghjfgjncghnfgcjngjfgxhfgjfghjfghjfgxjfg

no but this is just randomly the best thing i’ve ever seen

(Source: blackladyblue)

7 notes

keithboykin:

IN LIVING COLOR: NYC IN 1939 - This rare video shows New York City in 1939. There’s also a scene of 125th Street and Lenox, in the heart of Harlem, at 0:50 on the video.

(via agirlnamedandy)

57 notes

soulbrotherv2:

African-American Classics: Graphic Classics Volume 22 (Graphic Classics (Graphic Novels)) (Graphic Classics (Eureka))
African-American Classics presents great stories and poems from America”s earliest Black writers, illustrated by contemporary African-American artists. Featured are ”Two Americans” by Florence Lewis Bentley, ”The Goophered Grapevine” by Charles W. Chesnutt, ”Becky” by Jean Toomer, two short plays by Zora Neale Hurston, and six more tales of humor and tragedy. Also featured are eleven poems, including Langston Hughes’ ”Danse Africaine” and ”The Negro”, plus Paul Laurence Dunbar’s ”Sympathy” (”I know why the caged bird sings… ”).

soulbrotherv2:

African-American Classics: Graphic Classics Volume 22 (Graphic Classics (Graphic Novels)) (Graphic Classics (Eureka))

African-American Classics presents great stories and poems from America”s earliest Black writers, illustrated by contemporary African-American artists. Featured are ”Two Americans” by Florence Lewis Bentley, ”The Goophered Grapevine” by Charles W. Chesnutt, ”Becky” by Jean Toomer, two short plays by Zora Neale Hurston, and six more tales of humor and tragedy. Also featured are eleven poems, including Langston Hughes’ ”Danse Africaine” and ”The Negro”, plus Paul Laurence Dunbar’s ”Sympathy” (”I know why the caged bird sings… ”).

3,389 notes

stupidoldishlikelettersandsodas:

MY NIECE JAEDYN AMARI EMERSON OF BRANDEIS HIGH SCHOOL IN SAN ANTONIO HAS BEEN MISSING SINCE LAST NIGHT. SHE IS 15 AND WAS LAST SEEN WEARING SHORTS AND A TUBE TOP. HER AUNT TALKED TO HER AT 5 30 THIS MORNING. PLEASE CALL MY MOTHER, HER GRANDMOTHER, CHERYL EMERSON AT 210 445-6120 IF YOU SEE OR SPEAK TO HER.

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