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2017 Hardcover Edition. Previous owners name & initial on front end paper. Pages unmarked. Possible fade to edge of DJ.

Bishop Reverdy Ransom of the African Methodist Episcopal Church is a historically significant figure whose life and work provide a much fairer view of the richness of black religious life in the second quarter of the twentieth century than has heretofore been available. Making the Gospel Plain is a unique collection of Ransom's writings that are presently out of print or little known —writings that feature the issues he addressed and the context and perspective from which he worked.After an introductory essay outlining Ransom's life and involvements, the volume moves into the actual documents: sermons and speeches, articles and editorials, and pamphlets and excerpts from his books. Explanatory footnotes are included where deemed necessary. A selected bibliography of relevant books and articles by Reverdy Ransom concludes this work.Anthony B. Pinn is Assistant Professor of Religion at Macalester College, St. Paul, Minnesota and the author of Why Lord? Suffering and Evil in Black Theology (1995) and Varieties of African American Religious Experience (1998).

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Henry McNeal Turner was an "epoch-making man, " as his colleague Reverdy Ransom called him. A bishop in the African Methodist Episcopal Church from 1880 to 1915, Turner was also a politician and Georgia legislator during Reconstruction, U.S. Army chaplain, newspaper editor, prohibition advocate, civil rights and back-to-Africa activist, African missionary, and early proponent of black theology. This richly detailed book, the first full-length critical biography of Turner, firmly places him alongside DuBois and Washington as a preeminent visionary of the postbellum African-American experience. The strength and vitality of today's black church tradition owes much to the herculean labors of pioneers such as Turner, one of the most skillful denominational builders in American history. When emancipation created the prerequisites for a strong national religious organization, Turner, with his boldness, charisma, political wisdom, eloquence, and energy, took full advantage of the opportunity. Combining evangelicalism with forthright agitation for racial freedom, he instigated the most momentous transformation in A.M.E. Church history--the mission to the South. Stephen Angell views Turner's advocacy of ordination for women and his missionary work in Africa as a further outgrowth of the bishop's deep evangelical commitment. The book's epilogue offers the first serious analysis of Turner's theology and his replies to racist distortions of the Christian message.

At the height of the Cubist movement in Paris, no fewer than fifteen significant poets kept company with the painters. “Every writer had his painter,” said Blaise Cendrars. “I myself had Delaunay and Léger, Max Jacob had Picasso, Reverdy Braque, and Apollinaire had everybody.” The painters illustrated the poets’ poems and painted their portraits; the poets wrote the painters’ praise and defended them in journalistic wars. They loaned each other money, gave shelter to each other in times of need, inspired each other, and fortified each other’s resolve through thick and thin. The Cubist Poets in Paris evokes the capital city of Cubism in all its flamboyant bustle. It includes groups of poems by Guillaume Apollinaire, Pierre Albert-Birot, Blaise Cendrars, Jean Cocteau, Sonia Delaunay, Paul Dermée, Pierre Drieu la Rochelle, Charlotte Gardelle, Vicente Huidobro, Max Jacob, Marie Laurencin, Hélène Baronne d’Oettingen, Raymond Radiguet, Pierre Reverdy, and André Salmon. Each poem is presented in French and in English translation. Fifteen illustrations suggest the painters’ close ties with the poets, including works by Juan Gris, Giorgio de Chirico, and Léopold Suvage.

Pierre Reverdy (13 September 1889 - 17 June 1960) was a French poet associated with surrealism and cubism. Pierre Reverdy was born in Narbonne and grew up near the Montagne Noire in his father's house. Reverdy came from a family of sculptors. His father taught him to read and write. He studied at Toulouse and Narbonne. Reverdy arrived in Paris in October 1910. It was there, at the famous Bateau-Lavoir in Montmartre that he met Guillaume Apollinaire, Max Jacob, Louis Aragon, Andr Breton, Philippe Soupault and Tristan Tzara. For sixteen years, Reverdy lived for his writing. Reclusive by nature, Reverdy began to distance himself from these circles, and in 1926, at the age of 37, he left Paris, converted to Catholicism and went to live in Solesmes, home of the great St. Peter's Abbey. He stayed there until his death in 1960.

At the height of the Cubist movement in Paris, no fewer than fifteen significant poets kept company with the painters. “Every writer had his painter,” said Blaise Cendrars. “I myself had Delaunay and Léger, Max Jacob had Picasso, Reverdy Braque, and Apollinaire had everybody.” The painters illustrated the poets’ poems and painted their portraits; the poets wrote the painters’ praise and defended them in journalistic wars. They loaned each other money, gave shelter to each other in times of need, inspired each other, and fortified each other’s resolve through thick and thin. The Cubist Poets in Paris evokes the capital city of Cubism in all its flamboyant bustle. It includes groups of poems by Guillaume Apollinaire, Pierre Albert-Birot, Blaise Cendrars, Jean Cocteau, Sonia Delaunay, Paul Dermée, Pierre Drieu la Rochelle, Charlotte Gardelle, Vicente Huidobro, Max Jacob, Marie Laurencin, Hélène Baronne d’Oettingen, Raymond Radiguet, Pierre Reverdy, and André Salmon. Each poem is presented in French and in English translation. Fifteen illustrations suggest the painters’ close ties with the poets, including works by Juan Gris, Giorgio de Chirico, and Léopold Suvage.

First published in 1959, Surrealism remains the most readable introduction to the French surrealist poets Apollinaire, Breton, Aragon, Eluard, and Reverdy. Providing a much-needed overview of the movement, Balakian places the surrealists in the context of early twentieth-century Paris and describes their reactions to symbolist poetry, World War I, and developments in science and industry, psychology, philosophy, and painting. Her coherent history of the movement is enhanced by her firsthand knowledge of the intellectual climate in which some of these poets worked and her interviews with Reverdy and Breton. In a new introduction, Balakian discusses the influence of surrealism on contemporary poetry. This volume includes photographs of the poets and reproductions of paintings by Ernst, Dali, Tanguy, and others.

Bishop Reverdy Ransom of the African Methodist Episcopal Church is a historically significant figure whose life and work provide a much fairer view of the richness of black religious life in the second quarter of the twentieth century than has heretofore been available. Making the Gospel Plain is a unique collection of Ransom's writings that are presently out of print or little known —writings that feature the issues he addressed and the context and perspective from which he worked.After an introductory essay outlining Ransom's life and involvements, the volume moves into the actual documents: sermons and speeches, articles and editorials, and pamphlets and excerpts from his books. Explanatory footnotes are included where deemed necessary. A selected bibliography of relevant books and articles by Reverdy Ransom concludes this work.Anthony B. Pinn is Assistant Professor of Religion at Macalester College, St. Paul, Minnesota and the author of Why Lord? Suffering and Evil in Black Theology (1995) and Varieties of African American Religious Experience (1998).

Poetry. Translated from the French by Dan Bellm. Bellm's translation of THE SONG OF THE DEAD completes the translation of Pierre Reverdy's major works to English, and is published by Black Square Editions. The cover, an image created by Picasso, is from the original French edition of Le chants des mortes. Written in the aftermath of World War II in northern France, where Reverdy was a partisan in the Resistance movement, THE SONG OF THE DEAD is a remarkable document of dissociation and shattering, refraining from documentary or narrative in favor of revealing troubled states of soul. Reverdy's sure command of image amidst the emotional atmosphere of life-in-death in postwar France creates a work of strange eloquence and grandeur. THE SONG OF THE DEAD was first published in 1948, in a handwritten edition with one hundred twenty five color lithographs by Pablo Picasso.