This intriguing novel chronicles one migrant worker's experiences on a colonial plantation in West Africa. Martin Tebi cannot wait to board a truck to the south where he hopes to become a pioneer at a newly established oil palm plantation. Once he arrives, he realizes that becoming a 'Big man' in a new environment would not be as easy as he had thought. Set in the South West Region of Cameroon near the Bakassi region, this captivating story told in an authentic voice that fuses Pidgin and Standard English would keep readers spellbound as they follow Martin through his many struggles to become the first African manager. The experiences of Martin Tebi would resonate with economically displaced people in any part of the world.

This intriguing novel chronicles one migrant worker's experiences on a colonial plantation in West Africa. Martin Tebi cannot wait to board a truck to the south where he hopes to become a pioneer at a newly established oil palm plantation. Once he arrives, he realizes that becoming a 'Big man' in a new environment would not be as easy as he had thought. Set in the South West Region of Cameroon near the Bakassi region, this captivating story told in an authentic voice that fuses Pidgin and Standard English would keep readers spellbound as they follow Martin through his many struggles to become the first African manager. The experiences of Martin Tebi would resonate with economically displaced people in any part of the world.

A look at racial politics in the arts examines the idea of authenticity and the national fixation on finding "the real thing" by investigating the motives of those that claim to be authentic and those that call those claims into question. 40,000 first printing.

'The Whiteman' is one of the most powerful and pervasive symbols in contemporary American Indian cultures. Portraits of 'the Whiteman': linguistic play and cultural symbols among the Western Apache investigates a complex form of joking in which Apaches stage carefully crafted imitations of Anglo-Americans and, by means of these characterizations, give audible voice and visible substance to their conceptions of this most pressing of social 'problems'. Keith Basso's essay, based on linguistic and ethnographic materials collected in Cibecue, a Western Apache community, provides interpretations of selected joking encounters to demonstrate how Apaches go about making sense of the behaviour of Anglo-Americans. This study draws on theory in symbolic anthropology, sociolinguistics, and the dramaturgical model of human communication developed by Erving Goffman. Although the assumptions and premises that shape these areas of inquiry are held by some to be quite disparate, this analysis shows them to be fully compatible and mutually complementary.

Publisher description: 'The Whiteman' is one of the most powerful and pervasive symbols in contemporary American Indian cultures. Portraits of 'the Whiteman': linguistic play and cultural symbols among the Western Apache investigates a complex form of joking in which Apaches stage carefully crafted imitations of Anglo-Americans and, by means of these characterizations, give audible voice and visible substance to their conceptions of this most pressing of social 'problems'. Keith Basso's essay, based on linguistic and ethnographic materials collected in Cibecue, a Western Apache community, provides interpretations of selected joking encounters to demonstrate how Apaches go about making sense of the behaviour of Anglo-Americans. The portraits developed in these texts are understood as models of Whitemen and for dealing with Whitemen created by Apaches for Apaches. More obliquely, they also express Apaches' conception of themselves, for 'the Whiteman' has long been a symbol of what 'the Apache' is not. This study draws on current theory in symbolic anthropology, sociolinguistics, and the dramaturgical model of human communication developed by Erving Goffman. Although the assumptions and premises that shape these areas of inquiry are held by some to be quite disparate, this analysis shows them to be fully compatible and mutually complementary. In order to make explicit the meanings of joking texts, Basso examines in detail the abstract principles, both linguistic and nonlinguistic, for constructing and interpreting joking imitations in the context of face-to-face encounters. An exercise in cultural interpretation, this essay is also a study of ethnographic theory, the anthropology of play, American Indian humor, and the function of ethic boundaries in the everyday life of a modern Western Apache community.

Another dance of the bull through the china shop of cliches, The Artificial White Man proves the correctness of Tom Wolfe's observation that Stanley Crouch is "the jazz virtuoso of the American essay." This time out, Crouch focuses his attention on issues surrounding the often misdirected American hunger for "authenticity." Though the essays range in topic from segregation in contemporary fiction to the racial politics of filmmaker Quentin Tarantino, they are informed by a singular concern: our increasing difficulty in discerning the real from the counterfeit, the posture from the pose, in contemporary life.Crouch moves across literature, music, sports, film, race, sex, class, and religion with insights withering in one instance, celebratory and challenging in another. Long known as an independent thinker, Crouch takes further intellectual chances in this collection challenging us to live up to the potential of our social contract and our democratic arts. Pointed and provocative, The Artificial White Man is as witty and eye-opening as cultural criticism gets.

Demonstrates the extent to which Josiah Royce’s ideas about race were motivated explicitly in terms of imperial conquest. Another white Man’s Burden performs a case study of Josiah Royce’s philosophy of racial difference. In an effort to lay bare the ethnological racial heritage of American philosophy, Tommy J. Curry challenges the common notion that the cultural racism of the twentieth century was more progressive and less racist than the biological determinism of the 1800s. Like many white thinkers of his time, Royce believed in the superiority of the white races. Unlike today however, whiteness did not represent only one racial designation but many. Contrary to the view of the British-born Germanophile philosopher Houston S. Chamberlain, for example, who insisted upon the superiority of the Teutonic races, Royce believed it was the Anglo-Saxon lineage that possessed the key to Western civilization. It was the birthright of white America, he believed, to join the imperial ventures of Britain—to take up the white man’s burden. To this end he advocated the domestic colonization of Blacks in the American South, suggested that America’s xenophobia was natural and necessary to protecting the culture of white America, and demanded the assimilation and elimination of cultural difference for the stability of America’s communities. Another white Man’s Burden reminds philosophers that racism has been part of the building blocks of American thought for centuries, and that this must be recognized and addressed in order for its proclamations of democracy, community, and social problems to have real meaning. “Curry has paid attention to the odd and icky bits of Royce, tracking down the offhand cultural references, the unfamiliar names, and historical contexts. A solid analysis of early twentieth-century conceptions of race and colonialism reveals an unseemly picture before our contemporary eyes. Curry is right; we shouldn’t ignore or soft-pedal this.” — Lee A. McBride III, the College of Wooster