By Judith Rollins
With intelligence, perception, and humor, Odette Harper Hines describes her existence a lifestyles that reversed the development of the good Migration via starting in prosperity within the city North and stepping into the small-town South. Recorded via Judith Rollins over 8 years, this intimate narrative is an strange collaboration among African American ladies who characterize generations of civil rights activists. Born in big apple right into a cozy relations, Hines' activism all started within the Abyssinian Baptist Church in her adolescents and persisted all through her lifestyles as she witnessed the good melancholy in Harlem, labored at the WPA Writers undertaking, turned exposure director of the NAACP, and volunteered for the pink pass in Europe in the course of WWII. while she moved to Louisiana in 1946, she persevered to problem racial injustice and risked her existence to deal with civil rights employees within the early Sixties (Rollins, between them). She later began and directed the Headstart software in her parish. all through this narrative, Hines describes her relationships with such figures as Mary McLeod Bethune, Adam Clayton Powell, Walter White, Thurgood Marshall, Ella Baker, Marcus Garvey, Claude McKay, Ralph Ellison, and so on. but Hines' memoir is not just approximately her public existence. She courageously finds her own lifestyles and personal ache. Twenty-eight pictures normally from Hines' family members album accuentuate this oral background that's, as Rollins states in her creation, 'a advanced and textured portrait of a rare 20th century American woman.' writer word: Judith Rollins is affiliate Professor of Africana stories and Sociology at Wellesley collage, and the writer of "Between ladies: Domestics and Their Employers" (Temple).
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Additional resources for All is never said: the narrative of Odette Harper Hines
Race was never an issue among my playmates, but, because my family was very proud of who they were, they transmitted that knowledge and pride to me. For example, when I was very little I had a black doll and I knew she was Page 11 beautiful and I just loved her. Now, this was before Marcus Garvey popularized the idea of black dolls. Do you know how I got it? Someone had given me a large China doll with a blond wig and blue eyes. My father painted the doll brown and sent away for a black wig and a set of brown eyes.
And Godmother Ethellewho spent her last years here in Louisiana with mewas a designer of clothes and hats, the owner, with her mother, of her own boutique in Harlem. ) When she came here suffering from Alzheimer's disease, I was happy to be able to take care of her because she'd done so much for me when I was a child. There were trips and clothes and the theater. All three of my godmothers were wonderful. They and my great-grandparents, grandparents, aunts, uncles, and parents were very good to me.
In Alexandria, Harold Williams, Louis Berry, and Dorothy Hobdy helped the project by clarifying events, names, and dates. I am grateful for the time they so graciously gave. I am grateful, too, to Abafazi and the Journal of Women's History for publishing Chapters VI and X, respectively. The secre- Page xvi tarial assistance of Sarah Avery, Catherine Potter, Sarah Koolsbergen, and Denise Rebeiro has been enjoyable and expert. And the financial assistance of the Simmons College Fund for Research, the American Philosophical Society, the Devereaux Charitable Foundation, and a Wellesley College Research Grant has been invaluable.
All is never said: the narrative of Odette Harper Hines by Judith Rollins