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Paul Robeson The Undiscovered Paul Robeson (Hardback)
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Item specifics
- Condition
- Book Title
- Undiscovered Paul Robeson Vol. 1 : an Artist's Journey, 1898-1939
- Publication Name
- The Undiscovered Paul Robeson
- Title
- The Undiscovered Paul Robeson
- Subtitle
- An Artist's Journey, 1898-1939
- ISBN-10
- 0471242659
- EAN
- 9780471242659
- ISBN
- 9780471242659
- Publisher
- Wiley & Sons Canada, The Limited, John
- Format
- Hardcover
- Release Year
- 2001
- Release Date
- 01/03/2001
- Language
- English
- Country/Region of Manufacture
- US
- Item Height
- 1.3in
- Item Length
- 9.2in
- Item Width
- 6.2in
- Item Weight
- 25.2 Oz
- Genre
- Biography & Autobiography
- Topic
- Cultural Heritage
- Publication Year
- 2001
- Number of Pages
- 400 Pages
About this product
Product Information
The long-awaited, untold, inside story of the rise of the legendary actor, singer, scholar, and activist. The first volume of this major biography breaks new ground. The greatest scholar-athlete-performing artist in U.S. history, Paul Robeson was one of the most compelling figures of the twentieth century. Now his son, Paul Robeson Jr.
Product Identifiers
Publisher
Wiley & Sons Canada, The Limited, John
ISBN-10
0471242659
ISBN-13
9780471242659
eBay Product ID (ePID)
1863883
Product Key Features
Book Title
Undiscovered Paul Robeson Vol. 1 : an Artist's Journey, 1898-1939
Format
Hardcover
Language
English
Topic
Cultural Heritage
Publication Year
2001
Genre
Biography & Autobiography
Number of Pages
400 Pages
Dimensions
Item Length
9.2in
Item Height
1.3in
Item Width
6.2in
Item Weight
25.2 Oz
Additional Product Features
Lc Classification Number
E185.97.R63.R58 2001
Reviews
* Biographies penned by the children of the famous and noteworthy are born suspect. Either they're see-no-evil love letters like "My Father's Daughter," Tina Sinatra's memoir of her dad, Frank; or they are nasty memoirs of image immolation and score settling, such as Christina Crawford's "Mommie Dearest" (just try watching Joan Crawford in "Mildred Pierce" without thinking about wire hangers). In "The Undiscovered Paul Robeson," the first installment of a two-volume biography of his father, Paul Robeson Jr. deftly avoids crash landing in either camp. Stating that his father "despised sycophants," Robeson Jr. writes, "It would be an insult to his memory if I were to make the slightest attempt to satisfy those who crave a Robeson icon, those who wish to worship at a shrine, or those who are beguiled by his political persona." Robeson Jr. is more concerned with rescuing his father from the strange obscurity that has clouded his legacy and refuting the stubborn myths that clung to the man in life and have yet to fade in the quarter-century since his death - namely, that Robeson was a card-carrying Communist (he wasn't) who spent his later, blacklisted years as a bitter recluse (he didn't). Of course, had Robeson chosen to do so, who could have blamed him? A gifted singer and actor, he made his name on the stage and screen with heralded performances in "The Emperor Jones," "Othello," and "Show Boat," with his showstopping rendition of "Ol' Man River." But Robeson was dogged by racism at every turn. Once considered "a credit to his race" - inspiring to blacks, unthreatening to whites - he was later deemed a traitor when he spoke out against racial intolerance and embraced various unpopular political causes. Years of government harassment, especially by the infamous House Un-American Activities Committee, eventually eroded both his career and health. Because this volume concludes in 1939, Robeson Jr.'s focus is on his father as a young man and burgeoning artist, not as a persecuted activist. Born April 9, 1898, in Princeton, N.J., Robeson was the youngest of seven children. His father, William Drew Robeson, escaped slavery three years before the Civil War began. His mother, Maria Louisa Bustill, a member of one of Philadelphia's prominent black families, died in a freakish fire when her son was 5. A church pastor, William Robeson instilled in his children "the techniques of survival in a viciously racist climate," writes Robeson Jr. "He insisted that Paul must never appear to be challenging" white people. "Climb up if you can, but always show you are grateful," Robeson would tell his son."Above all, do nothing to give them cause to fear you." Such advice did little to spare Robeson the sting of bigotry. He attended high school in a neighboring town because Princeton had no secondary school for black children. A fine student, Robeson received a scholarship to Rutgers University, where he was the third black student in the school's then 150-year history. Both students and teachers were openly hostile, and when he tried out for the football team, several players threatened to strike. Robeson not only made the team but was twice selected as an All-American; still, he was benched for the homecoming game against a Southern college that refused to have its players on the same field with a black man. In college, Robeson was also a member of the glee club. He'd been singing since childhood and had developed a resonant bass voice. But a career in the arts didn't interest him initially; he wanted to be a lawyer. While attending Columbia Law School, he also appeared in amateur theatrical productions but kept his sights on practicing in a Wall Street law firm., * Biographies penned by the children of the famous and noteworthy are born suspect. Either they''re see-no-evil love letters like "My Father''s Daughter," Tina Sinatra''s memoir of her dad, Frank; or they are nasty memoirs of image immolation and score settling, such as Christina Crawford''s "Mommie Dearest" (just try watching Joan Crawford in "Mildred Pierce" without thinking about wire hangers). In "The Undiscovered Paul Robeson," the first installment of a two-volume biography of his father, Paul Robeson Jr. deftly avoids crash landing in either camp. Stating that his father "despised sycophants," Robeson Jr. writes, "It would be an insult to his memory if I were to make the slightest attempt to satisfy those who crave a Robeson icon, those who wish to worship at a shrine, or those who are beguiled by his political persona." Robeson Jr. is more concerned with rescuing his father from the strange obscurity that has clouded his legacy and refuting the stubborn myths that clung to the man in life and have yet to fade in the quarter-century since his death - namely, that Robeson was a card-carrying Communist (he wasn''t) who spent his later, blacklisted years as a bitter recluse (he didn''t). Of course, had Robeson chosen to do so, who could have blamed him? A gifted singer and actor, he made his name on the stage and screen with heralded performances in "The Emperor Jones," "Othello," and "Show Boat," with his showstopping rendition of "Ol'' Man River." But Robeson was dogged by racism at every turn. Once considered "a credit to his race" - inspiring to blacks, unthreatening to whites - he was later deemed a traitor when he spoke out against racial intolerance and embraced various unpopular political causes. Years of government harassment, especially by the infamous House Un-American Activities Committee, eventually eroded both his career and health. Because this volume concludes in 1939, Robeson Jr.''s focus is on his father as a young man and burgeoning artist, not as a persecuted activist. Born April 9, 1898, in Princeton, N.J., Robeson was the youngest of seven children. His father, William Drew Robeson, escaped slavery three years before the Civil War began. His mother, Maria Louisa Bustill, a member of one of Philadelphia''s prominent black families, died in a freakish fire when her son was 5. A church pastor, William Robeson instilled in his children "the techniques of survival in a viciously racist climate," writes Robeson Jr. "He insisted that Paul must never appear to be challenging" white people. "Climb up if you can, but always show you are grateful," Robeson would tell his son."Above all, do nothing to give them cause to fear you." Such advice did little to spare Robeson the sting of bigotry. He attended high school in a neighboring town because Princeton had no secondary school for black children. A fine student, Robeson received a scholarship to Rutgers University, where he was the third black student in the school''s then 150-year history. Both students and teachers were openly hostile, and when he tried out for the football team, several players threatened to strike. Robeson not only made the team but was twice selected as an All-American; still, he was benched for the homecoming game against a Southern college that refused to have its players on the same field with a black man. In college, Robeson was also a member of the glee club. He''d been singing since childhood and had developed a resonant bass voice. But a career in the arts didn''t interest him initially; he wanted to be a lawyer. While attending Columbia Law School, he also appeared in amateur theatrical productions but kept his sights on practicing in a Wall Street law firm. After graduation he got a job in a New York firm, but his tenure was short-lived. White co-workers treated him with such contempt that, Robeson Jr. writes, "It was inconceivable to Paul that he would enter a profession in which his possibilities would be so limited by r, * Biographies penned by the children of the famous and noteworthy are born suspect. Either they're see-no-evil love letters like ""My Father's Daughter,"" Tina Sinatra's memoir of her dad, Frank; or they are nasty memoirs of image immolation and score settling, such as Christina Crawford's ""Mommie Dearest"" (just try watching Joan Crawford in ""Mildred Pierce"" without thinking about wire hangers). In ""The Undiscovered Paul Robeson,"" the first installment of a two-volume biography of his father, Paul Robeson Jr. deftly avoids crash landing in either camp. Stating that his father ""despised sycophants,"" Robeson Jr. writes, ""It would be an insult to his memory if I were to make the slightest attempt to satisfy those who crave a Robeson icon, those who wish to worship at a shrine, or those who are beguiled by his political persona."" Robeson Jr. is more concerned with rescuing his father from the strange obscurity that has clouded his legacy and refuting the stubborn myths that clung to the man in life and have yet to fade in the quarter-century since his death - namely, that Robeson was a card-carrying Communist (he wasn't) who spent his later, blacklisted years as a bitter recluse (he didn't). Of course, had Robeson chosen to do so, who could have blamed him? A gifted singer and actor, he made his name on the stage and screen with heralded performances in ""The Emperor Jones,"" ""Othello,"" and ""Show Boat,"" with his showstopping rendition of ""Ol' Man River."" But Robeson was dogged by racism at every turn. Once considered ""a credit to his race"" - inspiring to blacks, unthreatening to whites - he was later deemed a traitor when he spoke out against racial intolerance and embraced various unpopular political causes. Years of government harassment, especially by the infamous House Un-American Activities Committee, eventually eroded both his career and health. Because this volume concludes in 1939, Robeson Jr.'s focus is on his father as a young man and burgeoning artist, not as a persecuted activist. Born April 9, 1898, in Princeton, N.J., Robeson was the youngest of seven children. His father, William Drew Robeson, escaped slavery three years before the Civil War began. His mother, Maria Louisa Bustill, a member of one of Philadelphia's prominent black families, died in a freakish fire when her son was 5. A church pastor, William Robeson instilled in his children ""the techniques of survival in a viciously racist climate,"" writes Robeson Jr. ""He insisted that Paul must never appear to be challenging"" white people. ""Climb up if you can, but always show you are grateful,"" Robeson would tell his son.""Above all, do nothing to give them cause to fear you."" Such advice did little to spare Robeson the sting of bigotry. He attended high school in a neighboring town because Princeton had no secondary school for black children. A fine student, Robeson received a scholarship to Rutgers University, where he was the third black student in the school's then 150-year history. Both students and teachers were openly hostile, and when he tried out for the football team, several players threatened to strike. Robeson not only made the team but was twice selected as an All-American; still, he was benched for the homecoming game against a Southern college that refused to have its players on the same field with a black man. In college, Robeson was also a member of the glee club. He'd been singing since childhood and had developed a resonant bass voice. But a career in the arts didn't interest him initially; he wanted to be a lawyer. While attending Columbia Law School, he also appeared in amateur theatrical productions but kept his sights on practicing in a Wall Street law firm., "This is an accomplished and moving memoir...he (Robeson, Jr.) restores the man to his rightful place as one of the most acclaimed people of the first half of the 20th century." ( Boston Globe ) "This version of his father's life is an important, well-wrought addition to African-American, Cold War and theater scholarship." ( Publishers Weekly ) "The author's ranging voice can be defensive, proud, protective, and bell-clear, and while he may not have the thunderous delivery of his father, his words come across as heartfelt." ( Kirkus Reviews ) "...this is a useful book..." ( Black and Asian Studies Association Newsletter , April 2002)
Table of Content
Preface: Paul Robeson: "I Am Myself". MOTHERLESS CHILD (1898-1919). The Preacher's Son (1898-1915). In His Glory: Robeson of Rutgers (1915-1919). DESTINY AND DECISION (1919-1926). Essie (1919-1921). A Taste of Theater (1922). The Performer Triumphs (1923-1924). Seeker of Grace (1925-1926). FROM PERFORMER TO ARTIST (1926-1932). "Ol' Man River" (1926-1928). "The Power to Create Beauty" (1928-1929). To Feed His Soul (1930). Troubled Spirit (1930-1931). Giver of Grace (1931-1932). TRIBUNE OF A CULTURE (1933-1936). Film and the Politics of Culture (1933-1934). Test Run: London-Moscow-Hollywood (1934-1935). White Film, Black Culture (1936). TO BE A PROPHET (1936-1939). Russia's Sun: Stalin's Shadow (1936-1937). Spain's Ramparts: "The Artist Must Elect" (1938). A Home in That Rock (1938-1939). Notes. Index.
Copyright Date
2001
Lccn
2001-017656
Dewey Decimal
782/.0092 B
Intended Audience
Trade
Dewey Edition
21
Illustrated
Yes
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eBay item number:315132441838
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