Videoconference Examines the Rising Influence of Black Literature
By Joan Morgan

WASHINGTON — The current explosion of Black literature signals what several observers believe is the leading edge of an overall literary renaissance.
Last month some of the newest voices in this burgeoning industry pondered its meaning and impact with a live and satellite audience as a part of Black Issues In Higher Education's Black History Month kick-off celebration. Sponsored in conjunction with Borders Books, Music and Cafe, this 11th installment of the videoconference series "Beyond the Dream: A Celebration of Black History" marked what the panelists called a new literary epoch.
The videoconference also provided a forum to discuss the debut of a unique new literary magazine — the Black Issues Book Review. 
Moderator Julianne Malveaux noted that the literary voices on the videoconference's panel were representative of this new age. They included: Danzy Senna, author of Caucasia, her first novel; Omar Tyree, author of three books, his latest, Single Mom; Colin Channer, author of Waiting in Vain; Sandra Jackson-Opoku, author of The River Where Blood is Born; Juan Williams, whose latest book is about the late Justice Thurgood Marshall; and Shandra Hill, author of Actions Speak Louder.
Assessing the status of Black literary achievement, the panelists say that more Blacks than ever are writing and publishing. They also say that Black authors are coming to a point where Blacks and Whites are reading the same books, noting that Black writers have broadened their range of subjects to include science fiction, interracial experiences, and topics with more crossover appeal.
Still there is a need to expand subject material and find a more assertive approach to marketing books so the community can know what we are writing about, says Tyree, who also is a journalist.
Jackson-Opoku saw significance in the use of the term "Black literature" as opposed to "African American literature."
"Our culture is becoming [a] globalized and a world culture," she says, "and as the new millennium dawns, we will begin to make connections in literature as well as other phases of life."
The general sentiment of the panel was that Blacks are moving toward the millennium with a bright literary future. And all of the panelists agreed that these are exciting times for Black writers.
As an example of how many authors are moving toward a combination of education, social issues, and entertainment, Malveaux cited Shandra Hill, whose books deal with subjects like sexually transmitted diseases. And, as always, readers like to be able to identify with the subjects.
"When people are searching for a book to read, they want something that they can relate to in their own lives," Hill says. "I have had people tell me they liked my book because they saw a little of themselves in the main character."
One of the main challenges facing the Black writer is marketing and convincing publishers that Black people do read, the panelists say. Malveaux wondered whether technology helps or hinders that effort.
Jackson-Opoku responds that the Internet makes selling easier. But she adds that it does have a downside, a potentially negative financial impact on Black bookstores. It also eliminates the personal interaction between buyer and seller.
"The Internet is something that exists and that we all have to learn to accept and use to our advantage," Channer says.
Juan Williams agrees: "The Internet can work for us. For example, I can put pictures and other resource materials that would never go into the actual book on the Web so that young people may use them and learn from them."
"But we can't forget that there is a 50 percent technology gap between African Americans and Whites," Malveaux warns, noting that 80 percent of Whites but only 35 percent of Blacks have access to computers.
Another question was about how Black writers measure success. Is it sales, or is it reviews and critical acclaim?
 "Personally for me, it is rereading my own work and liking it," Channer says. "As much as we talk about the business of writing, we have to love it. And those who love it most are the ones who are most likely to work hardest on it and the ones most likely to succeed."
Jackson-Opoku says the measure of success was about having control over her image. "I feel success is having control over my ability to market myself and project myself in what is a business."      
Senna agrees, explaining that she wrote her first book while in graduate school and without any publishing pressures.
"It was really my work," she says. "I think it's really important to let [the book] develop and exist outside of the publisher."
But despite the elements of control and opportunity that self-publishing offers, Tyree, who has published his own works, warns that it is not as easy as it sounds.
"It's not just about writing a book and throwing it out there," he says. "It's really about a high level of promotion, a high level of business, and a high level of energy."
And although often, as Channer points out, there is still a stigma attached to the so-called "vanity press," he adds, "But there are some very good books that were originally self-published and then later picked up by major publishers. I think that as opportunities open up more in mainstream publishing, we'll see the need for less and less self-publishing.
Spearheaded by efforts such as television talk-show host Oprah Winfrey's "Book of the Month" selection, a new phenomenon that is affecting the influence of Black literature is the burgeoning of Black reading clubs. Currently, approximately 20 chapters of the club "Go On Girls" have been established nationwide. These clubs have been both helpful and disappointing in terms of marketing, some of the panelists say.
Several students called and sent e-mail to inquire about what they needed to do to become writers. Many of them were concerned about whether they need to major in a particular discipline. The panelists agree that no particular degree was needed, but most had found writing workshops helpful and all mentioned reading other writers — especially renowned and respected Black writers.
The panelists gave their views of the literary challenges to be faced in the new millennium. They also discussed their upcoming projects.
Opoku says a passion of hers is to strengthen the ties between the various diverse communities of the African diaspora. She also is working on a children's book.
 "As we approach the new millennium, we have to remember that we need to encourage children to read more," says Channer, who is working on a novel with a metaphysical element that is set in Ghana.
Tyree, who is finishing a book titled Sweet St. Louis: Black Love Like You Never Read It Before, says, "I have to write a book that shows men how to love because if we can't get men to love their women, we are in hellified trouble in the Black community."
Senna is writing a novel with mystery elements. "I have been convinced that the color line was the struggle of the 20th century and I think the literacy line is our struggle for the 21st century."
Hill says she will continue to write about the topics she covers as a journalist. She is currently working on a story of three mothers who have lost their daughters to violent crime.
The panelists also stressed the need to support  enterprises that help to shape the images and marketing of Black writers.