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Add visual intrigue to your walls with the unexpected artistry of our Khadijah framed textile wall art. Its ornate and worldly design conveys a strong sense of movement to capture the eye. Elevated with a subtle distress effect and rich textures, our textile wall art features bright blue and orange to enliven your walls. It is beautifully encased in a wooden frame to feature as a dynamic addition to both modern and traditional living spaces. Color: Blue/Orange.

Unread book in perfect condition.

It's definitely a "singles thing" when six upwardly-mobiles allow you to come into their Brooklyn brownstone and eavesdrop on their lives, loves and attitudes. Khadijah James (Queen Latifah) runs her own magazine with a little help from her roommate and cousin, Synclaire (Kim Coles), who also works as her assistant. Synclaire is also navigating her personal life with Overton (John Henton), and Khadijah's best friend, Maxine (Erika Alexander), though once a successful divorce attorney faces new c

Season three of this beloved sitcom about young singles sharing a brownstone begins with Regine (Kim Fields) angrily moving out! Khadijah (Queen Latifah) has a great job running her own magazine and interviewing high-level athletes, but her publishing career might face serious setbacks. Max (Erika Alexander) and Kyle (T.C. Carson) struggle for control in their relationship, which damages their romance. Overton (John Henton) angers Synclair (Kim Coles) when he opens his ex-files, but he ultimatel

Starring Queen Latifah (Khadijah), Kim Coles (Synclaire), Erika Alexander (Maxine), John Henton (Overton), T.C. Carson (Kyle) and Kim Fields (Regine), Living Single celebrates the lives of four women bonded by friendship and laughter. In the final season of the series, Overton and Synclaire begin their new, no-longer-single life together honeymooning in Hawaii while Khadijah and Regine agonize over their new male roommate, Ira Lee Tripp Williams III (new series star Mel Jackson). Maxs romance wi

Poetry. African American Studies. The haunting, haunted world revealed in Khadijah Queen's FEARFUL BELOVED stays with the reader in an uncomfortably pleasurable way, and heightens awareness of our own world's deep horrors and ordinary brilliance. Anyone who has been unable to shake the erotic brutality of, say, Sylvia Plath's Ariel will savor the 'bruisable monuments' that Queen offers. Here Queen crafts a language that unfolds along multiple axes (spatial, temporal, emotional, spiritual) and is experimental with form while remaining seamless, precise, and vivid. Addressing Fear head-on--'your spectrality exists,' she insists--Queen's FEARFUL BELOVED evidences the fierce intelligence of 'a body in its own time, possessed of itself.'

Contributions by Leah Aldridge, Karen M. Bowdre, Aymar Jean Christian, Keith Corson, Rachel Jessica Daniel, Artel Great, Brandeise Monk-Payton, Miriam J. Petty, Eric Pierson, Paul N. Reinsch, TreaAndrea M. Russworm, Rashida Z. Shaw, Samantha N. Sheppard, Ben Raphael Sher, and Khadijah Costley WhiteFor over a decade, Tyler Perry has been a lightning rod for both criticism and praise. To some he is most widely known for his drag performances as Madea, a self-proclaimed "mad black woman," not afraid to brandish a gun or a scalding pot of grits. But to others who watch the film industry, he is the businessman who by age thirty-six had sold more than $100 million in tickets, $30 million in videos, $20 million in merchandise, and was producing 300 projects each year viewed by 35,000 every week.Is the commercially successful African American actor, director, screenwriter, playwright, and producer "malt liquor for the masses," an "embarrassment to the race!," or is he a genius who has directed the most culturally significant American melodramas since Douglas Sirk? Are his films and television shows even melodramas, or are they conservative Christian diatribes, cheeky camp, or social satires? Do Perry's flattened narratives and character tropes irresponsibly collapse important social discourses into one-dimensional tales that affirm the notion of a "post-racial" society?In light of these debates, From Madea to Media Mogul makes the argument that Tyler Perry must be understood as a figure at the nexus of converging factors, cultural events, and historical traditions. Contributors demonstrate how a critical engagement with Perry's work and media practices highlights a need for studies to grapple with developing theories and methods on disreputable media. These essays challenge value-judgment criticisms and offer new insights on the industrial and formal qualities of Perry's work.