By Kareem Abdul-Jabbar, Raymond Obstfeld
Kareem Abdul-Jabbar, basketball legend and the NBA's all-time major scorer, champions a lineup of little-known African-American inventors during this energetic, kid-friendly book.
Did you recognize that James West invented the microphone on your cellular phone? That Fred Jones invented the refrigerated truck that makes supermarkets attainable? Or that Dr. Percy Julian synthesized cortisone from soy, easing untold people's soreness? those are only a few of the black inventors and innovators scoring monstrous issues during this dynamic examine numerous unsung heroes who shared a wish to enhance people's lives. providing profiles with quickly proof on flaps and framed through a humorous modern tale that includes feisty twins, here's a nod to the minds in the back of the gamma electrical mobilephone and the ice-cream scoop, advancements to site visitors lighting, open-heart surgical procedure, and more—inventors whose ingenuity and perseverance opposed to nice odds made our global more secure, greater, and brighter.
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Additional resources for What Color Is My World?: The Lost History of African-American Inventors
At no point does Martius describe the body itself: Lord Bassianus lies beray’d in blood All on a heap, like to a slaughtered lamb, In this detested, dark, blood-drinking pit. (II, iii, 222–4) ‘Lord Bassianus’ is, here, a person – husband of Lavinia, brother of Saturninus – not the body Martius sees before him. Lord Bassianus lies on a heap; he is like a slaughtered lamb; neither fact nor image bears the weight of the horror felt by Quintius. It is the description of the ‘detested, dark, blood-drinking pit’ which is invested with horror.
That this threat is a constant presence in the text is, thus, not surprising. The insanity which dogs the heels of those who try to name the unnameable, for instance – the case of Titus Andronicus serves, almost, as an archetype – is a function of the insanity of the event or experience itself. Indeed, I would extend this idea to conﬂate the distortion of the memory/body with that of its articulation, resulting in the sense that many of us have of survivor narratives expressing pain as a kind of hysteria or insanity.
Revenge has the advantage of righting a wrong, closing, in so doing, the rupture made by violence in the moral and emotional fabric of its victims. The plea that his family ‘circle [him] about’ as he takes the vow of revenge becomes signiﬁcant then to his vow to ‘never come to bliss / Till all these mischiefs be return’d again / Even in their throats that hath committed them’ (III, i, 272–6). This realm of action and non-referentiality is immediately audible in Titus’s language. His insistence on the strictly material is heralded by the macabre allotting of sundry heads and hand to Marcus, Lavinia and himself.