Bibliographies thématiques / Laymon, kiese

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Littérature scientifique sur le sujet « Laymon, kiese »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Laymon, kiese"

Key, Jennifer. "Heavy by Kiese Laymon." Prairie Schooner 93, no. 2 (2019): 189–90. http://dx.doi.org/10.1353/psg.2019.0099.

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Johnson, Kenneth L., and Alison Hawkins. "It's Him and I, Aquemini: Reimagining OutKast in Kiese Laymon's Long Division." Southern Cultures 31, no. 2 (2025): 62–77. https://doi.org/10.1353/scu.2025.a962461.

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Abstract: This article explores how Kiese Laymon's Long Division reimagines the legacy of Southern hip-hop, particularly the disruptiveness of OutKast, through the characters of City and LaVander. Framing the novel's "Can You Use That Word in a Sentence" contest as a metaphorical Source Awards, the essay argues that Laymon uses OutKast's radical duality in Aquemini to construct divergent Black masculinities and rhetorical strategies of resistance. Through parrhesia, code-meshing, and cultural symbolism—waves, Rocawear, southern vernacular—the novel critiques racialized educational spaces and r

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Brown, Meghan. "“I Don’t Want People to Forget the Sentence”: An Interview with Kiese Laymon." MELUS 44, no. 1 (2019): 181–96. http://dx.doi.org/10.1093/melus/mly059.

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Lumumba, Chokwe Antar, and Kiese Laymon. "The People of Jackson Are Ready: Chokwe Antar Lumumba in conversation with Kiese Laymon." Southern Cultures 25, no. 3 (2019): 118–25. http://dx.doi.org/10.1353/scu.2019.0035.

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Dunlap, Leslie K. "Review: How to Slowly Kill Yourself and Others in America: Essays by Kiese Laymon." Ethnic Studies Review 36, no. 1 (2013): 159–61. http://dx.doi.org/10.1525/esr.2013.36.1.159.

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Lloyd, Vincent. "State Violence, Divine Abuse." Pólemos 18, no. 2 (2024): 209–24. http://dx.doi.org/10.1515/pol-2024-2014.

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Abstract It is tempting to attribute state violence to the imposition of a normative order, and it is tempting to construct an opposition between sanctifying that order and messianic interruptions of that order. This framework supposes that God, and the surrounding language of the sacred, follows the logic of rule, imposing a set of expectations on what is to be done enforced by threat of punishment. But what if we centre the story of Job in our account of the divine and with it an image of God as abuser rather than ruler, that is, God as only imposing the phantom of norms, norms that shift or

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Guerrero, Lisa. "New Native Sons: Ta-Nehisi Coates, Kiese Laymon, and The Phenomenology of Blackness in the Post-Racial Age." CLA Journal 60, no. 4 (2017): 414–33. http://dx.doi.org/10.1353/caj.2017.0015.

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"City Summer, Country Summer by Kiese Laymon (review)." Bulletin of the Center for Children's Books 78, no. 9 (2025): 344. https://doi.org/10.1353/bcc.2025.a957641.

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Miles, Corey J. "Ethnography in Revision: Black Ethnography and Notes From Kiese Laymon." Cultural Studies ↔ Critical Methodologies, October 6, 2024. http://dx.doi.org/10.1177/15327086241281921.

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Ethnography has been used to reinscribe boundaries of power within academic disciplines. This essay uses Kiese Laymon’s conception of revision to wreck the genre to move sociology beyond the circular process of documenting disparities and offering quick solutions, toward understanding ethnography as a process of frustrating knowledge. It offers two points of entry for revision into the ethnographic process. (a) The shift to reflexivity within ethnography should not stop at naming our positionality, commitments, and relations. Rather revision demands an interrogation of the type of person we ar

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Reese, Ashanté M., Tressie McMillan Cottom, and Kiese Laymon. "Interview with Tressie McMillan Cottom and Kiese Laymon: Money, Racism, and Success." Critical Sociology, May 27, 2020, 089692052092801. http://dx.doi.org/10.1177/0896920520928014.

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Livres sur le sujet "Laymon, kiese"

Zoom, Book. Summary of Heavy by Kiese Laymon: Book Zoom. Independently Published, 2021.

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SuperSummary. Study Guide: How to Slowly Kill Yourself and Others in America by Kiese Laymon. Independently Published, 2021.

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Leader-Picone, Cameron. Black and More than Black. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496824516.001.0001.

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This book analyzes twenty-first century African American fiction through the proliferation of post categories that arose in the new millennium. These post categories—post-black, post-racialism, post-Soul—articulate a shift away from the racial aesthetics associated with the Black Arts Movement and argue for the individual agency of Black artists over the meaning of racial identity in their work. Analyzing key works by Colson Whitehead, Alice Randall, Chimamanda Ngozi Adichie, Paul Beatty, Jesmyn Ward, and Kiese Laymon, this book argues that twenty-first century African American fiction highlig

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How to Slowly Kill Yourself and Others in America: Essays. Scribner, 2020.

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How to Slowly Kill Yourself and Others in America. Bloomsbury Publishing Plc, 2016.

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How to Slowly Kill Yourself and Others in America. Agate Publishing, Incorporated, 2013.

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How To Slowly Kill Yourself And Others In America Essays. Agate Bolden, 2013.

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How to Slowly Kill Yourself and Others in America. Agate Publishing, Incorporated, 2013.

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How to Slowly Kill Yourself and Others in America. Bloomsbury Publishing PLC, 2016.

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How to Slowly Kill Yourself and Others in America: Essays. Scribner, 2020.

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Plus de sources

Chapitres de livres sur le sujet "Laymon, kiese"

Pollack, Harriet. "Kiese Laymon, Jesmyn Ward, and Natasha Trethewey." In Faulkner, Welty, Wright. University Press of Mississippi, 2024. https://doi.org/10.14325/mississippi/9781496851086.003.0005.

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Today, as in the twentieth century, contemporary Mississippi writers dominate the literary field. Kiese Laymon, Jesmyn Ward, and Natasha Trethewey represent a current Mississippi Renaissance in counterpoint with this volume’s primary trio, Faulkner, Welty, and Wright. These writers interact in a crowded landscape of mutual hauntings as the presence of older texts hovers in the new. This essay considers the six writers' interactions through allusions that often work in reverse, to complicate the texts alluded to, to show us new ways to read that which we thought we had fully read before. Allusi

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POLLACK, HARRIET. "Kiese Laymon, Jesmyn Ward, and Natasha Trethewey:." In Faulkner, Welty, Wright. University Press of Mississippi, 2024. http://dx.doi.org/10.2307/jj.16063705.8.

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Hudson, Berkley. "Reading Pruitt." In O. N. Pruitt's Possum Town. University of North Carolina Press, 2022. http://dx.doi.org/10.5149/northcarolina/9781469662701.003.0021.

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This bibliographic essay, accompanying a selected bibliography, provides a research roadmap to buttress the visual stories Pruitt and his subjects tell us. Three main categories discussed are Photographic and Documentary Studies; Southern History and Culture; Oral History, Ethnography and Folklore. Scholars and writers referenced include Alan Tratchenberg, William R. Ferris, Deborah Willis, Walter Benjamin, Michael Lesy, bell hooks, John Szarkowski, Shawn Michelle Smith, Roland Barthes, Jacques Lacan, Frantz Fanon, Robert Coles, Michel Foucault, Stuart Hall, John Berger, Susan Sontag, David Bl

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Hopper, Briallen. "Everybody’s Protest Essay: Personal Protest Prose on the American Internet." In The Edinburgh Companion to the Essay. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474486026.003.0017.

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This chapter discusses a selection of contemporary ‘personal protest essays’ – often written by women – that employ the ‘mix of narration and reflection’ of the personal essay to explore ‘intersections between individual experience and structures of injustice’. Starting from an outline of the American context for the personal protest essay, Hopper then focuses on essays by Rebecca Solnit, Kiese Laymon, Chanel Miller and Seo-Young Chu. These essays belong to the subgenre of what is termed ‘everybody’s protest essay’, a mashup between the protest essay and the ‘confessional first-person’ form of

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Christian, Shawn Anthony. "Baldwin, Delaney, and Black Artists’ Genealogical Legacies." In Speculative Light. Duke University Press, 2025. https://doi.org/10.1215/9781478059042-019.

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In this chapter, Shawn Anthony Christian explores how the friendship between James Baldwin and Beauford Delaney constituted an instance of Black artistic relation as genealogical transition, something deeper than “artistic influence” and more historically and culturally familial than simply a “transmission of ideas.” Baldwin’s public tributes to Delaney compel consideration of the enduring ways Black artists embrace and then exemplify shared values and aesthetics. Just as Baldwin “read” Delaney’s paintings and found in them both affirmation and challenge, especially for his own art, subsequent

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Hale, Candice N. "Releasing the Heavy Repercussions of Black Death in Jesmyn Ward’s Men We Reaped." In Jesmyn Ward. Edinburgh University Press, 2023. https://doi.org/10.3366/edinburgh/9781399510615.003.0013.

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This chapter places Jesmyn Ward’s Men We Reaped into critical conversation with Kiese Laymon’s, Heavy – two memoirs that it reads in relation to notions of Black death. With a voice like rage, Ward bears witness to the Black death, trauma, and grief that many Black Southerners experience under the scourge of white supremacy. In Men We Reaped, she chronicles the death and injustices of five Black men, including her brother, during a 5-year span. This chapter reads this text in order to show how we can begin to release the heavy repercussions of Black death and injustice in our communities by em

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Miley, Mike. "What’s My Line?" In Truth and Consequences. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825384.003.0002.

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Round One explores works that use (and abuse) trivia to reveal how the hypermediated consumer culture of late capitalism traps individuals in a metaphorical isolation booth, unable to establish a stable sense of self. Just as the quiz-show scandals of the 1950s nearly killed the quiz show, works such as Quiz Show, Melvin and Howard,Slumdog Millionaire, and Chuck Barris’s “unauthorized autobiography” Confessions of a Dangerous Mind suggest that a rigged game presents an existential threat to the self. Amidst the pressure to conform to the norms of the community of television, individuals betray

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