A Quote by Harry Lennix
The most important thing in my life is that trying to ameliorate, redeem, the image in particular of African American men, or Black men - I don't really even like that term, "African American," because we're Black people.
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I am an American. Black. Conservative. I don't use African-American, because I'm American, I'm black and I'm conservative. I don't like people trying to label me. African- American is socially acceptable for some people, but I am not some people.
One of the things that made the Black Muslim movement grow was its emphasis upon things African. This was the secret to the growth of the Black Muslim movement. African blood, African origin, African culture, African ties. And you'd be surprised - we discovered that deep within the subconscious of the black man in this country, he is still more African than he is American.
The potential significance of Black feminist thought goes far beyond demonstrating that African-American women can be theorists. Like Black feminist practice, which it reflects and which it seeks to foster, Black feminist thought can create a collective identity among African-American women about the dimensions of a Black women's standpoint. Through the process of rearticulating, Black feminist thought can offer African-American women a different view of ourselves and our worlds
We’ve gone through the names—Negro, African American, African, Black. For me that’s an indication of a people still trying to find their identity. Who determines what is black?
My mom is Jamaican and Chinese, and my dad is Polish and African American, so I'm pretty mixed. My nickname in high school was United Nations. I was fine with it, even though I identify as a black woman. People don't realize it hurts my feelings when someone looks at my hair or my eyes, and says, "But you're not actually black. You're black, but you're not black black, because your eyes are green." I'm like, "What? No, no, I'm definitely black." Even some of my closest friends have said that. It's been a bit touchy for me.
The acceptance of the facts of African-American history and the African-American historian as a legitimate part of the academic community did not come easily. Slavery ended and left its false images of black people intact.
I have a well-balanced show. It's 50/50 on men/women, and also African-American/white writers, it's the same thing. I have four African-American writers, and four non-African-American writers.
There are more than 100 million African women who go topless at some point in the day, each and every day, to honor both God and our ancestors. So being in a country like America where nothing is hated more than the image of the black woman, even by black people'because her womb produces the black man and makes us black'I find it of grave importance to implement African images, and especially to produce media images that acknowledge the sexual power and fertility of black women.
In a moment when young black voters were key to the election and the reelection of a black president, when the Department of Justice has been led these years by the first two African-American attorneys general, when many big cities boast African-American league prosecutors and police chiefs and mayors, even in this moment, why is it that it still feels to so many young people that there is more power for change on the court than in the courts?
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
The [Steve Harvey] foundation started originally about the educational needs of children. But, as I got into it more and more, one of my main objectives became mentoring programs for young African American men because that's our problem in our community - it's the African American men.
African-Americans are not a monolithic group. So, we tend to talk about the black community, the black culture, the African-American television viewing audience, but there are just as many facets of us as there are other cultures.
I identify as African American. I identify as Black. Black is something I share with other descendants of Africa, African-American is something I share with other Black descendants of America and both of those identities are of equal importance to me.
I'm one of the few Black writers, or African American writers, who managed to work my way through the system so that it has allowed me to speak in a kind of free way. But most African American writers don't have that. They don't have that opportunity, they don't have that.
I came in the gate as an African-American poor kid wanting to be a neurosurgeon but - with American life and the places I was put due to American history and laws and the oppression of black people - I had to make it work in other ways.
I had this idea that I wanted to do this mixture of visions of African American women and visions of African American men. And call it 'The Men' and call it 'The Women' and show different faces of these two people.
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