Tag Archives: Fear of a “Black” America

Bronchitis 1999

22 Saturday Jun 2019

Posted by in 1, Academia, culture, Eclectic, Marriage, Pittsburgh, Pop Culture, Sports, Work, Youth

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“The Colour of Phlegm,” June 22, 2019. (https://www.benylin.ca).

This summer marks 20 years since me and my wife of now more than 19 years moved down to the DC area, specifically Silver Spring. I had visited and lived in the DMV and in the Shepherd Park neighborhood in DC in the years between 1992 and 1997, mostly to visit friends like Laurell or Marya, for previous job searches, or to do my dissertation research. I lived in DC in 1995 for two months, between February and April 1995.

But other than a few days here and there, I hadn’t experienced the full onslaught of a DC summer until the summer of transition from Pittsburgh to DC and Silver Spring in 1999. I’d just accepted Presidential Classroom’s offer for the full-time gig as their Director of Curriculum, but was still obligated to teach my summer grad course in History of American Education at Duquesne University. Part of my obligation upon saying yes to the Presidential Classroom job was spending a week in DC with the high school students and with their instructors for the week, going around town to the key events of a week of civic education in Washington. It made sense that I would need to see programming at ground level before working on the curriculum and any new ideas I might have to improve it.

Although it made sense in theory, in reality, the job was a test of how well I’d perform with serious sleep deprivation and center-right White folk as my constant companions. I cleared my schedule in mid-June to be one of the instructors with the students. I should have cleared my lungs and sinuses for this part of my new gig as well.

I already knew from previous visits and stays that DC flora caused me some serious allergic reactions. In May 1994, I couldn’t breathe for five days, my nose was that stopped up. This was and remains the land of drained swamps and marches, after all.

Between that and a group of government workers turned barely trained instructors who went on benders night after night, I didn’t sleep. Between sinus issues and corn-fed high school juniors and seniors looking to make out and hook up in violation of the curfew during the week, I couldn’t sleep. Did I also mention instructors had to share a room? It was a small hotel room at the Georgetown University Medical Center Marriott. My roomie’s snoring made my own seem like I wasn’t breathing at all. I doubt if I averaged five hours of sleep per night that first week.

While going between sweating on the mall or in line at the Capitol or at the White House in 95 or 99-degree heat and being blasted with bus and Georgetown’s air conditioning, I picked up a head cold. Hanging out on the next-to-last night with the other instructors until 2 am didn’t help. Nor did chaperoning the farewell dance until 5 am the next night.

God Bless You cartoon, January 2013, February 26, 2013. (http://www.cartoonaday.com).

My head cold died down as I moved into my own room for a couple of days while going around town to find a place for me and my then fiancee to live once my Duquesne course ended and we could pack up to leave Pittsburgh. But it didn’t quite go away. I started to cough, sometimes out of nowhere and for no particular reason. On Wednesday before I had to leave to go back to the ‘Burgh to teach and begin the wind-down process for moving, I found a nice luxury apartment just over the DC border in Silver Spring. It was the so nice it made me want to cry. The staff seemed wonderful, if overdressed for daytime and maybe not quite there detail-wise. But I know I sounded like shit that triple-H afternoon.

It didn’t get any better the rest of the summer. I taught for five weeks with aches, chills, and a window-rattling cough that would stop my lectures for at least two minutes at a time while I waited for the coughing fit to subside. I have no idea what my students thought. That summer, I had a soon-to-be mainstream Black actor who talked way too much and a bunch of future and in-service teachers in that class. Really, they were probably more concerned about earning A’s than whether I passed out in the middle of class.

It occurred to me that I might have asthma, and that the cold I caught in DC had severely exacerbated it. Maybe I would’ve gone to see a doctor, that was, if I had any health insurance. Bronchitis, though, was far from my mind.

I assumed that all I needed to do was rest. But who could rest with a move coming up, starting a new job, turning in grades after grading papers, signing leases, buying engagement rings, and finding an agent for Fear of a “Black” America? That was my July and August 1999 when I wasn’t in the classroom earning my hacker’s license.

So I muddled through the heat of my fiancee’s apartment, the cold of Duquesne’s classrooms, the humidity of the DMV, the exertion of packing and moving boxes, and so many other things that summer. By the time I started working in the office at Presidential Classroom in Alexandria the third week in August, I was sucking Halls lozenges like they were orange-cream popsicles and I was six years old again.

Then, my future wife intervened. She correctly guessed that I had bronchitis and that I was on the verge of pneumonia. “You are not leaving this apartment! You are not getting out of bed!,” she said to me when I came home from work at the start of Labor Day Weekend. I didn’t have the energy to fight her, although I did whine, “What about our dinner plans?” somewhere in her bossing me around.

Well, I did leave the bed that three-day weekend, to go to the bathroom and to watch Tiger Woods win yet another tournament. Otherwise, hot soups, hot water, no air conditioning (my partner kept it off for me that weekend), VapoRub, a ton of Benadryl and Advil and NyQuil and Theraflu. Between Saturday night and Monday afternoon, I regularly coughed up the yellowest and greenest mucus I’d ever seen come out my body. My significant other would go, “Yuuuccckkk!” every time I showed her the concoction of sickness my lungs pushed out. In my head, I agreed.

I literally could have died 20 years ago. Seriously. Bronchitis and pneumonia are serious illnesses, even for the relatively healthy 29-year-old I was in 1999. The lack of health insurance and a single-minded commitment to getting out of Pittsburgh and academia, to finding a real job, made me sick. I was a half-dead man walking in August 1999. Another month like that could have killed me.

I’ve Been Blogging For a Decade, And…

06 Tuesday Jun 2017

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Me comatose on my MacBook keyboard, March 29, 2013. (Donald Earl Collins).

This was what I wrote for my first blog post on my former Fear of a “Black” America website on Monday, June 4, 2007.

It had taken me a month of brushing up on my HTML and a week of negotiating the code between Blogger.com and my former website (hosted by Earthlink) to embed my blog page. All so that I could post for the first time.

I was transitioning from being the writer and “recovering academician” on multiculturalism to the writer I am now, I guess. But I didn’t want to lose a website I’d spent months of self-taught HTML time and energy developing, and years of additions to attract views, comments, and the occasional interview. At the time, FearofaBlackAmerica.com averaged 1,200 unique visitors a month, after a high of 4,000 per month through 2004 and 2005, mostly the result of pumping my first book. Or possibly, the confusion between my book title and PE’s 1990 album, Fear of a Black Planet, but given the feedback, it was much more the former than the latter.

Kunta Kinte being whipped, Roots (1977) screenshot, July 6, 2012. (http://irvine.wikis.gdc.georgetown.edu). Qualifies as fair use under US Copyright laws because of screenshot’s low resolution.

So I went for it, not knowing if anyone would read any of my words, feel any of my emotions, or ever express a thought in support, solidarity, or disagreement. Once I started writing about poverty, racism, and child abuse while growing up in Mount Vernon, New York, though, it didn’t take long for random folks to start sending me missives about how I “deserved” my stepfather beating me up, or how grateful I should be for growing up in a city where Denzel Washington once lived. The kind of respectability politics bullshit that writing about a childhood full of pain tends to attract.

It wasn’t until I moved my blog to WordPress in 2010 that the work of writing and adding multimedia to my musings really took off. It helped that I managed to use contemporary events to tell my story, to provide commentary on human depravity beyond the world of research. By 2012, I was averaging more than 12,000 views a month, and had more comments from folks about my blogs than I could respond to in a timely manner. Excerpts from some of my blogs even made it into social and mainstream media.

Overall, there have been over 250,000 unique visitors to and 300,000 views of my blog off both the Blogger and WordPress platforms over the past decade. With this one, I’ve written 944 total posts, about 900,000 words since June 2007. Among my most popular are

Standing ovation, opera house unknown, May 21, 2012.(http://www.thelmagazine.com).

I think that this is a good representation of what my blog has offered me as a writer and, hopefully, the tens of thousands of folks who read my musings every year. I have no idea what this blog will turn into over the next couple of years, as I continue to pursue more and more freelance writing projects, and maybe even, another book. But I thank all of you for your support, your criticisms, and your reads and views over the years. May I never take this for granted.

Academia’s Silence Must Be Heard

24 Monday Feb 2014

Posted by in 1, Academia, Carnegie Mellon University, culture, Eclectic, Politics, Pop Culture, University of Pittsburgh, Youth

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At Eternity's Gate, by Vincent Van Gogh, oil on canvas painting, Kröller-Müller Museum (The Netherlands), May 1890. (Eloquence via Wikipedia). In public domain.

At Eternity’s Gate, by Vincent Van Gogh, oil on canvas painting, Kröller-Müller Museum (The Netherlands), May 1890. (Eloquence via Wikipedia). In public domain.

I’ve learned the hard way how the world of academia treats folks who break its unwritten covenants. The ones that say accept all of our strictures about what to publish, how to write, when to write it, about tenured/tenure-streamed vs. non-tenured, adjuncts and graduate student TAs and unionization, among so many others. Those of us who make trouble, who question the archaic wisdom of those in our world, are often cast out, rendered invisible or otherwise completely forgotten about.

The funny thing about going against the grain of academia — or at least, my fields of US/African American history and American education/ed policy — has been that criticism can serve as a better sign of acceptance than hearing nothing at all. It was like this for me in grad school at Pitt and Carnegie Mellon, and even my first five years after finishing my doctorate. Whenever someone said that my work on multiculturalism and Black history was “interesting,” the flatness with which a professor or grad student said “interesting” was the key for me. If the “interesting” was completely flat, it meant “but I completely disagree with your line of research” or “this thing is too simplistic and boring for me as a scholar to get excited about.” If the “interesting” had a lilt to it or even a slightly raised eyebrow, it meant that one of my colleagues or more senior folk really found my work intriguing.

Actor Arte Johnson as the Nazi German character Wolfgang on NBC's Laugh-In (1968-73), saying "Very interresting..." per usual, September 4, 2011. (http://photobucket.com)

Actor Arte Johnson as the Nazi German character Wolfgang on NBC’s Laugh-In (1968-73), saying “Very interesting…” per usual, September 4, 2011. (http://photobucket.com)

That term “interesting” was my indication that some people acknowledged and understood the importance of my work, and that some absolutely couldn’t and wouldn’t. But over the past decade, as I’ve complained about the nature of academic writing, about the limits of scholarship and about the changing nature of academia itself (from a hiring perspective), the one thing I’ve noticed the most has been academia’s silence. The collective silence has been deafening, so much so that I finally concluded it meant not only disagreement, but a shunning as well. Like the Amish, only without the Rumspringa.

I had fleeting moments when I noticed the silence, like at my second OAH presentation in Los Angeles in ’01 on Black women intellectuals and multiculturalism. Even though my research was sound, I knew I needed to work on drawing clearer connections between how I’d been defining intellectual and connecting it with notions of cultural pluralism, and thus, multiculturalism. With forty people in the audience, and with thirty-five minutes of Q and A, no one asked me a single question. No one in the audience, it seemed, was interested in multiculturalism or historical contributions to the idea from Anna Julia Cooper, Zora Neale Hurston, Mary Church Terrell or anyone else.

I noticed even more as I submitted my first book Fear of a “Black” America for publication with the university presses prior to ’04. At least with the likes of Praeger and Farrar, Straus & Giroux, I’d frequently get a detailed response, good and bad. But with the university presses, it was deadly silence. I guess me working full-time in the nonprofit world and only teaching ed foundation courses part-time was one of my deficits.

The final set of hints of silence that came my way was in the year after I published Fear of a “Black” America. I decided in ’05 to write an article on the overuse of the term scholar-activist, an article I published in Academe Magazine that fall. Grad students tended to like it, activists outside of academia have cited it hundreds of times, and my immediate circle of friends in academia loved it. But my relevant fields within academia remained silent about it. They were silent about my argument that exercising academic freedom doesn’t automatically make one an activist, and that academic writing, even writings that lean hard to the left, don’t make an academician an activist either.

Dante in Exile (n.d.), painting by anonymous, Archivo Iconografico S.A., Itália, June 3, 2006. (Fernando S. Aldado via Wikipedia). In public domain.

Dante in Exile (n.d.), painting by anonymous author, Archivo Iconografico S.A., Itália, June 3, 2006. (Fernando S. Aldado via Wikipedia). In public domain.

I realize then I had evolved as a writer to the point where I wasn’t just uncomfortable with academic writing, the tenure process and the lack of unionization for adjuncts and grad students — I’d been uncomfortable for years. No, I wanted a teaching, even administrative relationship with higher education for sure, but not one where all of my eggs were in the academic writing basket. Unlike Joshua Rothman’s grand assumption in his “Why Is Academic Writing So Academic?” piece in last week’s New Yorker, that “[p]rofessors live inside that system [of academic writing] and have made peace with it,” I have not and will not make peace with this. Ever.

I think Nicholas Kristof is a hack, and that most of the columnists of The New York Times are hacks as well. But in knowing the sadistic silence of academia as well as I do, I also know that this world of higher education can and does grind many of its participants up, often without making the slightest sound. It’s a wonder that I’m still teaching and writing anything at all.

The Road to Boy @ The Window, Part 4: Fear of a “Black” America

26 Thursday Sep 2013

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FearBookCover3copy

Given that Fear of a “Black” America was my first book, but one based on my doctoral dissertation, and that Boy @ The Window is a memoir, the road from one to the other may not be that obvious with an initial glance. But despite the intellectual, semi-scholarly nature of my book on Blacks and multiculturalism, there are parallel themes that run between Fear of a “Black” America and Boy @ The Window. Perhaps none are more important, though, than the challenge of authenticity, of fitting in, of being able to mesh the complicated onion that I’ve found myself to be over the years.

I think that was why I decided in November ’98 to turn my dissertation “A Substance of Things Hoped For” into a more readable book. Yes, after all that work to write a 505-page thesis, it would’ve been a shame to just let it sit on my then girlfriend’s coffee table, to be used either as a door stop or a base for her doing her nails. Yes, I still had something to prove to academia. That my scholarship as a historian and educator on the issue of multiculturalism was sound. That the conventional academic wisdom around Blacks, people of color and multiculturalism was paternalistic fear-mongering.

Public Enemy, Fear Of A Black Planet (1990) Album Cover

Public Enemy, Fear Of A Black Planet (1990) Album Cover

And in thinking that last part through, I came up with my Public Enemy-inspired title and thread for the first book. It was about fear in many forms. Elite White fears of a majority-people-of-color US within their own lifetimes. Conservative fears of a K-16 education system that included the cultural and historical perspectives of peoples of color, of the poor, of women, of the LGBT, of so many others they’d rather discard. General American skepticism that any Blacks had ever given any thought at all to cultural pluralism, intercultural education, or multiculturalism/multicultural education, at least before White theorists had thought through these ideas first.

Afrocentrists and nationalists who thought of multiculturalism as soft and utterly unrepresentative of the Black experience — or, at least, what they considered an authentic version thereof? That was as difficult a challenge as any I faced in writing both my dissertation and Fear of a “Black” America. So much so that I made a few interesting decisions along the way. I sought out an agent — yes, a literary agent — for the first book, and found one, too (things were so much easier in ’99). I wanted the book to have an impact beyond academia.

In the writing process, I decided to weave the theme of fear, skepticism, willful and inadvertent misunderstandings throughout the 200-page book. All while covering Black intellectual thought about what we now call Afrocentricity and multiculturalism, Black activism and activities around education and Negro History Week, and the so-called Culture Wars of the 1980s and 1990s. All to show that multiculturalism was/is a part of America’s evolution, even if some folks are gnashing their teeth and wearing sackcloth and ashes along the way.

One thing was missing, though, from my six chapters. Me, in a word. Yes, my argument was crystal clear, my evidence was sound, my notes and analysis lined up well enough by the summer of ’00. Yet, as my one-time agent noted, “there’s not enough of you in this manuscript.”  Bottom line: folks weren’t going to buy the book unless I made it more compelling, which meant putting something of me or about me in it.

So I did. I wrote mostly about my experiences in academia and how they paralleled with some of the critical issues in Fear of a “Black” America. I talked about my Duquesne University students in the College of Education in ’98 and ’99, most of whom were cultural conservatives. I brought up conversations I had with professors skeptical about my scholarship, like Richard Altenbaugh in March ’98 or my former dissertation advisor Joe Trotter in April ’96. I also wrote about my conversation with Estelle Abel over my lack of authenticity as a young Black man in June ’87, having thought about it for the first time in thirteen years. I wasn’t sure if that made Fear of a “Black” America any better, but it made me feel better about my first book.

By the time I’d given my agent the final draft of Fear of a “Black” America in October ’00, I was ready — maybe for the first time in years — to take a look at my life before Pitt, grad school, Spencer Fellowship and becoming Dr. Collins. I wasn’t sure if I wanted to open up the emotional side of that Pandora’s box just yet. But in some ways, I really needed to, precisely because of my experiences with people in grad school at Pitt and Carnegie Mellon. And precisely because of my occasional moments of rage and overreaction, if only because Fear of a Black “America” helped me tap into emotions I didn’t know I had.

On Academic Entourages & Standing Apart From Them

11 Wednesday Sep 2013

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Lil Wayne entourage, Hartford, CT, July 2011. (http://4umf.com/).

Lil Wayne entourage, Hartford, CT, July 2011. (http://4umf.com/).

This week for many is about anniversary number twelve of the 9/11 attacks, which if I hadn’t lived through them, would sound like something out of a Kurt Vonnegut novel. But because I’ve been counting my days for years, this week also represents two decades since I realized that radical “Islamic” terrorists, pro athletes and popular music artists aren’t the only ones with followers. I learned for the first time that even in the world of academia, paragons and those who allege themselves as such also have their entourages of true believers and sycophants. It was a realization that bothered the loner and the aspiring academic historian in me.

Letters to the Editor, Black Issues in Higher Education, September 9, 1993. (Donald Earl Collins)

Letters to the Editor, Black Issues in Higher Education, September 9, 1993. (Donald Earl Collins).

It all occurred in the aftermath of my first major publication, co-written with my friend Marc and published in Black Issues In Higher Education in August ’93. “Afrocentricity: The Fight for Control of African-American Thought” was our 1,200 word contribution to the debate over multicultural education and Afrocentricity in both higher education and in Black culture more generally. It was a publication that came as a surprise, because the editors at Black Issues In Higher Education (the same folks who ran Emerge Magazine, by the way) hadn’t contacted us about receiving our pitch and article, about accepting it for publication, or about when they intended to publish. And even though our article was literally in the centerfold of their August 12, ’93 issue, the folks at Black Issues in Higher Education never paid us for the publication of our work.

The reason why because clearer in their September 9 and September 23 issues. In the “Letters to the Editor” section, the editors published a dozen letters, ten of which were critical of our work. These weren’t scholarly or even logical critiques — we were wrong because we weren’t members of the Church of Afrocentric Babble, plain and simple. These were “How dare you!” or “Shame on you!” letters, not ones based on what we’d actually written.

What became obvious  to me was that Molefi Asante’s former and current students had written most of the letters. Not exactly an unbiased set of sources, as in the circle of Afrocentricity in the early ’90s, there were few people more prominent than Asante (he was the Father of Afrocentricity, after all). Once I realized this, I found myself disappointed. With Black Issues in Higher Education, with Black folks in academia — particularly at Temple University — and with academia itself. Me and Marc weren’t being challenged on our ideas, but on the idea that two alleged neophytes had the balls to challenge the orthodoxy of the early ’90s in African American studies and in high-brow Black cultural circles.

Marc pushed for a response from one of the editors about their unprofessionalism (and to find out why we weren’t being paid for our piece), which led to a conversation with one of the big-wigs. He apparently said to Marc, “We published it [the “Afrocentricity” piece] to teach you a lesson.” When Marc told me, I said, “Well, I guess we’re not gonna get paid.” (Turned out this was standard practice for the likes of Black Issues in Higher Education, Emerge, and for freelancers at BET as well). Marc, pissed and disillusioned, said, “We were just trying to help.”

Letters to the Editor, Black Issues in Higher Education, September 23, 1993. (Donald Earl Collins).

Letters to the Editor, Black Issues in Higher Education, September 23, 1993. (Donald Earl Collins).

It was the last one of many factors that pushed me to write my dissertation and my first book Fear of a “Black” America (2004) on the relationship between education, multiculturalism, and Black identity. I wanted to show that Afrocentricity wasn’t the only strain of thought that ran through the heads of Black scholars and found its way into small “c” curriculum and cultural events in Black communities. In doing so, I certainly stood apart, but I also stood alone a lot, too.

In recent years, I’ve seen numerous entourages eviscerate lone wolfs. On Twitter, in our 24/7 media coverage of the mundane and insignificant yet insane, and at academic conferences. As recently as a couple of months ago, I saw a version of this on Facebook in response to a post I wrote about Mark Anthony Neal’s Looking for Leroy (2013). The entourage makes it difficult for an up-and-comer to get off to an honest start, for conformity with only subatomic levels of independent thought seems to be the norm.

Somewhere between now and when my son (knock on wood) reaches my age of forty-three, maybe some of what I’ve written over the past twenty years will break through the ice of entourages, mad-dog and otherwise. Still, it is a damnable thing when groups get together to stomp out different voices (literally and figuratively), because that’s seems to be the only way to keep the band together.

The New Gameplan for Boy @ The Window

05 Saturday Jan 2013

Posted by in 1, Boy @ The Window, culture, Eclectic, Mount Vernon New York, Pop Culture, Youth

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Siege of Burgos (Spain), 1813, by François Joseph Heim. Pic taken December 23, 2012. (1970gemini via Wikipedia). In public domain.

Siege of Burgos (Spain), 1813, by François Joseph Heim. Pic taken December 23, 2012. (1970gemini via Wikipedia). In public domain.

It’s a new year, and with the beginning of all years is a chance to execute new plans, or for most people, to make resolutions they often don’t keep. Such is the case for me regarding my coming-of-age memoir Boy @ The Window. Hopefully I’ll be in the first category of plans for my new year and not in the latter. After five years of beating my fists on the walls of literary agents, acquisition editors and commercial publishers, I have to do far more than hope.

And my fists have needed a few months to heal after the past few years. In all, I contacted somewhere around 140 agents, editors and publishers since the end of ’07 about Boy @ The Window. One in four asked to look at either the first few pages, the first couple of chapters or the entire manuscript. Only two of those agents agreed to represent the manuscript, and then, with major conditions. One went as far as to suggest that I only focus on my family life, as if my preteen and teenage years in Humanities had no impact on my development at all. The other thought I could sell Boy @ The Window better if I turned it into a work of commercial fiction.

I should’ve seen the writing on the proverbial commercial book industry wall long before today. Between the shifts in the commercial publishing marketplace since my experiences with Fear of a “Black” America between ’99 and ’04, the Great Recession’s impact on the industry since ’08, and the rise of the ebook in the past decade. All three pointed to one simple fact. If one wasn’t already a successful author prior to a decade ago, or famous, or with a significant connection to commercial publishing (e.g., a journalist, an editor, or even an editorial assistant), one would face a long, hard walk through the traditional route of publishing a book.

Boxer David Haye displays his bruised knuckles, January 12, 2011. (http://www.thesun.co.uk/)

Boxer David Haye displays his bruised knuckles (cropped), January 12, 2011. (http://www.thesun.co.uk/)

But I’d made up my mind the moment I began working on Boy @ The Window in earnest in the summer of ’06. I didn’t want to self-publish my second book, not after a year and four months of promoting Fear of a “Black” America. While on some level I successfully promoted my first book (I have receipts of my royalty checks to prove that), selling a thousand copies while spending $3,500 to do so for a semi-academic book on multiculturalism was nothing like I had envisioned the process back in ’99.

I persisted in the idea of traditional commercial publishing for the manuscript. I dutifully attended writers conferences, book fairs and other opportunities to meet other authors, potential agents and a few editors. I wrote and rewrote my query letter and proposal, with more revisions than I probably did on the Boy @ The Window manuscript itself. I sent out my letters, took phone calls when they came, reached out to folks for help. And all to end up concluding that I would be in need of dentures by the time a commercial publisher would lukewarmly pick up my manuscript for its list.

Now, even my harshest critics (myself included) consider Boy @ The Window a solid manuscript. So the issue has never really been the quality of the story or the writing. The issues come down to an industry in seismic flux and to me as a person. With my own career in transition and without the obvious examples of success (I’m not regularly booked for TV programs, I have yet to make my first $1 million), I can’t say that I’m in the public eye enough to sell 10,000 copies of my book per week for three weeks, and at least 5,000 a week for three months. That’s the industry threshold for groundbreaking nonfiction success these days.

So dreams of sugar plums or $100,000 advances aren’t exactly dancing in my head these days. But much has changed since I published Fear of a “Black” America in the past eight and a half years. For one, ebooks rule the book publishing marketplace, enabling any aspiring (if not talented) writer to self-publish or to publish independently. Add to this the mix social media, like my blog, Twitter, Facebook and other connections, and nontraditional publishing may well make as much sense as working with an agent.

Intermediate pass route game plan (with at least one running back as blocker), November 2011. (http://www.npengage.com).

Intermediate pass route game plan (with at least one running back as blocker), November 2011. (http://www.npengage.com).

This means much more work — and money — on my part, though. I’ll need to hire a copy editor, figure out artwork, finalize pictures, implement my proposed marketing strategy, plan a date for publishing to coincide with marketing, and so on. But I also realize that few commercial publishers do this work for authors anymore, anyway, as they’ve slashed their promotion and marketing budgets. The advantage, then, goes to people like me, with some means for publication and enthusiasm for my book.

I realized all of this at least two years ago. Apparently, so did my wife. When I finally decided to go this route for Boy @ The Window a few weeks ago, she said “I thought you should’ve done it two years ago, but you weren’t ready.” Meaning that I wasn’t ready to dismantle my siege guns and remove my land minds around the commercial publishing castle. Now that I have, I can say with a high degree of certainty that I will publish Boy @ The Window this year, 2013, short of an apocalyptic event.

Promoting Fear of a “Black” America

04 Saturday Feb 2012

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Fear of a "Black" America front cover, July 2, 2004 (Donald Earl Collins).

It’s been seven years since my first radio interview and book signing for my first book, Fear of a “Black” America: Multiculturalism and the African American Experience (2004). In all, I spent sixteen months actively promoting the book, through PR releases, contacts at universities and through my work at the Academy for Educational Development, and a huge volume of email exchanges and phone conversations. Between this nearly full-time work, my full-time job, and being a full-time parent and husband, I was exhausted by the end of ’05.

It’s unbelievably hard work to promote a book. Especially a self-published one. Not to mention, one that I’d proclaimed as an in-depth response to the conservative movement’s “Culture Wars” on all things “multicultural.” One that was a combination of personal vignettes with interviews and historical research to tell the story of African Americans and other groups of color coming to grips with their notions of multiculturalism in education and in their everyday lives. Granted, it was immediately available via Amazon.com, Barnes & Noble/B&N.com and the now out-of-business Borders.com. But if I’d done nothing, I would’ve sold maybe one hundred copies in ten years.

My work to promote Fear of a “Black” America began about a year and half before it hit virtual and actual shelves in September ’04. I created a website for the manuscript (http://www.fearofablackamerica.com) in February ’03,  learning HTML in detail in three weeks’ time. Within a year, the number of unique visitors to the fledgling site varied between 500 and 1,000 a month. After three years of coming close — but still failing — to publish Fear through traditional publishers like Beacon Press, Random House and Verso, I politely moved on from my agent and decided to self-publish.

A couple of months into the process, I hadn’t much success beyond a couple of professors using copies of Fear in their African American studies courses (a completely random occurrence — they were in different parts of the country). My friend Marc took it upon himself to have me meet him and a friend of his for a long talk about how to organize a marketing campaign for the book at the end of November ’04. While they were certainly well-meaning, their advice provided no real insight into the process other than what I already knew. I just needed to be persistent.

That persistence paid off in early February ’05. In a span of three days, I did an evening drive interview with Howard University Radio (WHUR-FM) and a book signing at Karibu Books. Both, at least, gave me some momentum beyond Black History Month, as I continued doing book signings in the DC area and through my job up in New York that spring.

My promotions reached their height in April ’05, when I did an hour-long interview with Pacifica Radio DC (WPFW-FM) about Fear. There, I realized how much more interested caller were in my personal background and how that shaped my views of multiculturalism. I also learned that some of the callers — whom I didn’t know — had actually read my book. It made all of the groundwork I’d done to get to this point worth the effort. By then, I’d cracked the top 100,000 in the Barnes & Noble list (84,000), or roughly ten to fifteen sales per week, and the top 200,000 (161,000) on Amazon.com (another 10-15 sales per week).

WPFW 90.9 Interview (Part 1), Fear of a “Black” America, April 25, 2005

WPFW 90.9 Interview (Part 2), Fear of a “Black” America, April 25, 2005

During that summer and fall, I continued to promote Fear, with another interview on Pacifica Radio DC in August, and a book signing at Howard University Bookstore in October ’05. But I was running on empty. As fast as email was, it didn’t have the immediacy of what we now call social media. And in ’05, Facebook was in its infancy, Twitter didn’t exist, and Blogger was a relative novelty. Even with a website that received 4,000 hits and over 1,200 visitors a month, I couldn’t generate the cascade effect that I could right now.

My final act of promotion for Fear of a “Black” America came in August ’06, though John Kelly’s Washington Post Metro Column, “Getting Work Done – On the Way to Work,”  in which I talked about editing my book on Metro Rail for two years. By then, I’d pivoted to work on Boy @ The Window, knee-deep in reopening memories that hadn’t been well-considered when I was a teenager.

Between September ’04 and December ’05, I promoted Fear of a “Black” America using $3,500 of my resources, and made over $1,000 on the book, selling about 600 copies in sixteen months. Overall, I’ve sold over a 1,000 copies between ’04 and ’08. Those numbers are on par with most works published in academia.

But I was hardly satisfied. I knew by ’09 that with a social media apparatus, I could’ve sold ten times as many books. I knew that my memoir manuscript deserved more than the fate of self-publishing, that I’d want to find a path to a traditional publisher. Still, despite my moments of despair, I believe that my persistence in finding an agent and a publisher is the right way to go. It’ll make it easier to work hard in promoting Boy @ The Window. In that case, I’ll be doing it in the virtual light of day.