Critiques and Controversies of Street Literature
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Wanda Brooks&and
Lori Goodson JimLorraine Savage
Blasingame
Critiques and Controversies of Street Literature:
A Formidable Literary Genre
a friend of mine gave me the book to read and it took me a adolescents who read street fiction may currently
day and a half to finish. i could not put it down. i love the exist. As a contemporary trend, however, this arguable
characters and the storylines. i got so caught up in them it
increase in reading has not surfaced statistically but
felt like a movie happening in my head. i could not believe
3 educated strong women would fall for men with those continues to reveal itself anecdotally to those of us
types of jobs and all of them had a happily everafter end- working among teenage populations in both urban
ing, it goes to show you that love is a mystery. i cannot and suburban areas (Morris et al. 20). We noticed
wait to read more of wahida clark’s novels, keep them comin initial evidence of the genre’s appeal at least two years
lady. (Amazon, “PP Thugs”)
ago. Street fiction began flooding local bookstores and
showing up in the hands of urban high school stu-
W
ho is Wahida Clark? According to Wendy, dents participating in a community, after-school arts
the writer whose criticism appeared on and literacy program near our university. Since that
Amazon.com, Clark is an exceptional time, empirical data such as the high rankings given to
author who crafts entertaining, thoughtful and some street fiction books on Amazon.com confirmed
engaging stories. In fact, writers such as Wahida our suspicions. Further, while some books falling
Clark, Nikki Turner and Teri Woods represent only a within this genre are not written explicitly for adoles-
few authors of “Street Literature” (street lit/fiction), a cents, the proprietor of a Black owned bookstore in
genre permeating the African American literary Philadelphia, PA recently explained that the readership
tradition in surprising ways. Chain bookstores such as extends as low as middle and upper elementary school
Borders and Barnes and Noble now incorporate street students. When asked about the increasing appeal of
fiction within literary sections designated for “African these narratives, she reasoned, “You don’t have to live
American Interests.” Some public libraries as well as the life to get wrapped up in the storylines” (Anony-
Black-owned bookstores have increased the number of mous).
books they own to include writers like Clark, Turner, To provide insight about this literary trend,
and Woods (Morris, Hughes, Hassell-Agosto, and throughout we highlight street fiction as a formidable,
Cottman 20; Young 22). contemporary genre that has grown in popularity
Street lit readership appears to be on the rise, and throughout the past decade. We begin by offering a
this growth brings into question some disturbing definition, a brief literary and production history,
research findings. Results of a National Endowment of general characteristics and a view on the controversial
Arts’ study (Bradshaw and Nichols 26) indicated a nature of the genre. This section is followed by a
sharp decline in the number of young adults who discussion that incorporates theory, related research
engage in literary reading, yet, a proliferating and and excerpts from electronic book reviews (inspired by
possibly unprecedented increase in African American street fiction) to illustrate how readers actually
48
THE ALAN REVIEW Winter 2009
i48_55_TAR_Win09 48 3/6/09, 2:15 PMinterpret the narratives. Specifically, we examine a 24 who struggle to survive despite immense obstacles
range of reader responses to varied street texts including but not limited to abject poverty, overt and
extracted from Amazon.com (a website that permits institutional racism, as well as violence in its various
readers to upload electronic book critiques). We forms. The protagonist’s saga is conveyed through
conclude with practical and research-based implica- heavy use of African American Vernacular English and
tions. quick-moving storylines. The novels are typically set
in urban locales with hip-hop culture serving as a
Definition, History, Characteristics prominent backdrop. Themes such as young women
who fall in love with the
The genre of street fiction is grounded in the tradition
wrong men and plots that
of urban literature novelists from the 1960s and 1970s
like Donald Goines and Robert Beck (Hill, Perez, and
revolve around premarital Called street literature,
sex, violence, crime,
Irby 77). These writers crafted ultra-realistic tales of urban drama, and hip-hop
abortion and illegal
urban living rife with explicit language and street
activities such as drug
slang told through characters who were often pimps,
dealing are common
literature, this exciting
prostitutes, and drug dealers. According to Ghose
(Morris et al. 19). Despite genre features fast-paced
(106), eventually the appeal of the urban novel faded
these characteristics,
but was revived in 1999 with the publication of best-
street lit authors Vickie action, gritty ghetto real-
selling novel The Coldest Winter Ever (Souljah) and
Stringer and K’wan Foye
subsequent increased popularity of Flyy Girl (Tyree)
consistently refer to their ism, and social messages
and True to the Game (Woods). One library in Madison,
stories as a means to warn about the high price of
Wisconsin describes these books in the following way:
readers of the pitfalls of
Called street literature, urban drama, and hip-hop litera- illegal activity (Reid 11). gangsta life.
ture, this exciting genre features fast-paced action, gritty In other words, these
ghetto realism, and social messages about the high price of
narratives might be
gangsta life. Following in the tradition of Iceberg Slim and
Donald Goines, the new generation of street lit writers speaks
classified as cautionary or redemptive tales.
to the experiences of a wide range of characters—from the An excerpt from a popular street narrative titled
ordinary people trying to get by in the projects to hard-core True to the Game (Woods) reveals some of these
drug dealers, prostitutes, pimps, and gangbangers. (“Street characteristics. Narrated by Gena, who is a young
Lit”) adult, the following events describe her first meeting
Despite the recent recognition, street lit has not been with Quadir, “a millionaire associated with the [drug]
eagerly embraced by major publishing houses, cartel:” (Woods back cover)
although this trend is now changing (see Young 22) She said goodbye to Quadir and pocketed his number. Even
Therefore, in order to initially get their books into the though he wasn’t driving, he was nice and he was dark-
hands of readers, street lit writers often self-publish skinned, and that was definitely a plus. Not to mention the
(Hill, Perez, and Irby 77). Independent publishing diamond bezel Rolex watch he had on. Damn, she thought,
the man is dark as night, but his beard and his moustache
houses like Triple Crown Publications and Urban
was so sexy. She would definitely be trying to see him to-
Books have created another avenue through which morrow, which for her was a lifetime away. (Woods 4)
authors can have their work printed. The books are
then sold wholesale to street vendors and bookstore A few chapters later, we learn more about Quadir’s
owners or the authors themselves sell the books cartel activities as well as his associates. Readers are
directly to consumers. The Internet boom has also privy to a dialogue between Rasun and Reds, two
provided an additional outlet for publicizing and young men employed by Quadir:
selling street fiction, which has added to its popularity Back in Philly, the summer heat had driven everyone out-
and success (Spavlik 65). side onto the sidewalks, porches, corners and streets. There
The genre typically consists of stories centered on were open fire hydrants with bursts of water spraying chil-
African American protagonists between the ages of 16- dren . . . Rasun drove back down to North Philly. . . .
49
THE ALAN REVIEW Winter 2009
i48_55_TAR_Win09 49 3/6/09, 2:16 PM“What’s up?” he said as he pulled up on the corner of 25th (for adults, young adults and children) an analogous
Street. type of canonization occurred over the past forty years
“Nothing, man. What’s up?” asked Reds.
as literary theorists and scholars identified characteris-
“You got the money?”
“Yeah,” Reds said, pulling a knot of paper out his pocket. . . . tic elements of these texts (see, for example, Bishop
“Is everybody out here tonight or what?” Reds asked. 273) and selected writers, for a variety of reasons,
“Most definitely,” Ra said. . . .(Woods 45-46) gained prominence over others. Esteemed African
“What you need the gun for?” Reds asked. American young adult and adult writers who have
“Man, what you need it for? You’re going to a party, right?” received this canonized sanctioning include, among
Reds didn’t want to give up the gun. “What the f*** (exple- others, Walter Dean Myers, Toni Morrison, Mildred
tive in original) you need it for? . . . . Taylor, James Baldwin, Alice Walker, Jacqueline
“We’ll, take that s*** (expletive in original) up with Quadir Woodson, Virginia Hamilton, Ernest Gaines, Christo-
when he comes back,” Ra said, knowing Qua wasn’t giving
pher Paul Curtis, and Walter Mosley. These authors
them no guns like that. Mentally, they couldn’t handle a
gun . . . and Quadir knew it and wasn’t taking any chances composed compelling narratives that make up the list
. . . (Woods 47) of middle and high school African Americans literary
texts frequently read in today’s classrooms.
As the storyline evolves, the relationship between
Books by the above writers receive high literary
Gena and Quadir develops. In the next passage, Gena
honors, such as Newbery and Coretta Scott King
reflects on men, in general, and especially those like
awards. They are repeatedly selected for school district
Quadir whose elevated financial earnings appeal to
curriculum because their stories convey the themes,
young women despite the emotional costs:
ideologies, illustrations and literary qualities deemed
The majority of the brothers that were out had woman at up to standard by teachers, librarians, and parents.
home. The funny thing about it though, was that even The cultural messages and representations embedded
though you might be with a guy and really call him your
in the fiction often correspond with a long-standing
man, you knew in the back of your mind that he wasn’t
your man. . . . the brothers were socially acceptable literary tradition in which novelists compose stories
whoremongers inheriting the earth. Gena’s girlfriends all with particular purposes in mind. According to literary
knew this, but it didn’t make a difference. As long as they critic Bishop:
were spending money, nothing really made a difference.
Nothing else mattered. (Woods 44-50) African American literature has been a purposeful enter-
prise, seldom if ever art for art’s sake. . . . Across genres, in
In these brief selections, we generally capture street poetry, picture books, and contemporary and historical fic-
fiction’s essence. Although deeply rooted in a familiar tion, Black authors and artists have created a body of
children’s literature that 1) celebrates the strengths of the
young-adult storyline that depicts the ebbs and flow of
Black family as a cultural institution and vehicle for sur-
a new romantic relationship, this narrative also vival; 2) bears witness to Black people’s determined struggle
embodies the potential to valorize infidelity, criminal for freedom, equality, and dignity; 3) nurtures the souls of
activity and a wide range of unprincipled and even Black children by reflecting back to them, both visually and
stereotypic behaviors. This potential (whether realized verbally, the beauty and competencies that we as adults
or not) undergirds a good deal of the controversy see in them; 4) situates itself through its language and its
content, within African American literary and cultural con-
encasing street fiction.
texts; and 5) honors the tradition of story as a way of teach-
ing and as a way of knowing. (273)
Canons and Controversy
Since the well-regarded African American writers of
Throughout history, competing claims have existed whom Bishop refers frequently situate their narratives
about whether high brow, canonized, western or within realistic urban contexts (Walter Dean Myers
classical literature ought to give way to the types of and Jacqueline Woodson are two noteworthy ex-
books some have argued will diminish our society’s amples), some might wonder how street lit compares
cultural standing because of an over-emphasis on in literary legitimacy, sustainability and quality to
popular and folk culture or our presumed base desires, other well regarded African American literature
(e.g., controversy over romance and graphic novels). (Venable 25). Currently, two perspectives exist.
Within the focused area of African American literature Rightly or wrongly, values of nihilism, misogyny,
50
THE ALAN REVIEW Winter 2009
i48_55_TAR_Win09 50 3/6/09, 2:16 PMhomophobia, physical abuse toward women and reason why people are choosing these stories and
violence circulate within and around a number of maybe we should look at what is causing this hunger”
artists (i.e., rap) who claim membership in the hip (Young 22). Reader response criticism validates the
hop culture, such as some street lit writers. Critics of rationale driving this editor’s argument. If well-
the genre have made these hip hop life-text associa- established writers of African American young adult
tions (Young 22). To them, the narratives likely and adult fiction are, in some instances, being de-
intensify a growing cultural disconnect between centered by street lit authors, what compelling
today’s poor, African American urban adolescents and meanings are youth and
our larger society. Voices largely within the African young adults deriving from
American community are weighing in and questioning these narratives?
the denigrating cultural messages, ideologies, stereo- Because studies within Unlike in the past, the
types and moral values that they contend street lit the field of literacy explor- self-publishing, hip hop
reifies, not to mention the presumed lack of literary ing reader responses to
quality (Stovall 56; Venable 25; Young 22). texts have revealed that ethos of these writers has
On the other hand, a range of folks now consider despite what is embodied
street literature a viable genre to discuss and debate in any piece of fiction, positioned their stories
(Hill, Perez, and Irby 78; Wright 42). They contend readers interpret stories in
within postmodern sensi-
that street fiction symbolizes neither a fad nor an highly complex and often
oddity in African American culture. Rather, as a unanticipated ways, reader bilities that mitigate con-
literary production, it should be situated within the response criticism and
long-standing debate about high brow and popular research can shed some structs of power and
culture that has vigorously reemerged as largely self- light on how to examine
authority. As a result,
taught and self-published writers, sometimes identify- the street fiction trend
ing themselves as members of the hip hop generation, (Beach 8). While not a assigning a cultural hier-
began publishing, promoting, and lucratively distribut- unified theory, many
ing this genre of literature (Morris et al. 17). Unlike in scholars writing within the archy of either high or low
the past, the self-publishing, hip hop ethos of these field of reader response
writers has positioned their stories within postmodern criticism do share a
to this emerging genre
sensibilities that mitigate constructs of power and common belief in the becomes rather compli-
authority. As a result, assigning a cultural hierarchy of distinct influence and
either high or low to this emerging genre becomes transactive nature of the cated (Young 23).
rather complicated (Young 23). As scholars have reader, text and socio-
argued with respect to the criticism aimed toward the cultural context within any
musical genre of rap as well as other non-traditional reading experience (Rosenblatt 135; Tompkins ix).
text sources like spoken word, these books may be Drawn to titles such as Project Chick (Turner),
nuanced and varied across a continuum, not unlike True to the Game (Woods) and Thugs and the Women
any collection of texts falling within a particular Who Love Them (Clark), African American adoles-
literary genre or other popular culture medium (Fisher cents and young adults (a percentage of whom likely
365; Morrell 74; Wright 42). resist or struggle with reading in school) make-up the
largest population currently reading street fiction in
Reader Appeal and Interpretations non-school contexts or as unofficial curriculum during
school hours (Morris et al. 20). Indeed as customer
Notwithstanding literary merit, the appeal of street
reviews on Amazon.com suggest, a significant propor-
fiction books has received minimal attention. A senior
tion of those attracted to the books are adolescent girls
editor at One World/Ballantine (a major publishing
and young adult women. One example Amazon.com
house) recently said the following about street lit
reader review posted by ‘Sha’ about the book Thugs
readership and the genre’s appeal, “You can’t force
and The Women Who Love Them (Clark) reads:
them (readers) to read James Baldwin. There is a
51
THE ALAN REVIEW Winter 2009
i48_55_TAR_Win09 51 3/6/09, 2:16 PMI am from Trenton NJ and I can realate [relate] to edge of my seat. The story never developed into what I
this book. thought the book was about. The three friends in the book
didn’t seem like they had their own heads on straight, but
This book is how it is on the street and also were supposed to have such “high inspirations”. . . please.
descibes [describes] passion a lot. The pimp portion of the story was garbage. . . It made no
sense. Wahida didn’t show the girls to be ambitious and
Ms. Clark is a wonderful writer.
doing something with their lives. I just couldn’t get into the
This is the second book of hers that I have read. book. (Amazon “PP Thugs”)
(Amazon “PP Thugs”) Along with literary criticism, adult street lit fans aware
Commenting on the urban novel some have coined a of the teenage readership voice real-world concerns.
classic, The Coldest Winter Ever (Souljah), which Reacting again to The Coldest Winter Ever (Souljah)
received a commendable ranking in the Amazon best (ranked #3,464 on January 12, 2009, by amazon.com),
selling books category (# 2,164) and boasts more than ‘loni’ cautioned:
1000 customer reviews/responses on the website,
What can I say that hasn’t already been said about this
another electronic critic, ‘school marm’, wrote: acclaimed novel? I can say that I would be upset if it were
The main character is spoiled, recommended reading for classroom assignment. There is
extremely audacious, and too much careless promiscuous behavior, crime, drugs and
For a responsible adult, headstrong. She thinks she’s other ingredients in the gumbo mixed story. For a respon-
street smart and ahead of the sible adult, this is an entertaining novel. For a teen, it is a
this is an entertaining game. But her character has map to destruction. This is a popular book for teens be-
flaws that demonstrate her cause of all of the sex, profane language and crime. We
novel. For a teen, it is a weakness and vulnerability. wonder why our teens are so out of control! Teens are not
This book leads you on a jour- responsible enough to read this. They generally are copy-
map to destruction. This ney that wakes you up to the cats. Let your teens read it at their and your own risk.
realities of your own life (Amazon “The Coldest”)
is a popular book for through this character and her
As evidenced by the reviewer stances above, street
support cast of characters.
teens because of all of Each one of them along with literature exists on a continuum, and Amazon critics
the various events of this novel evaluate the books across this range. These nuances
the sex, profane lan- will help to define why this is, may not be readily apparent to an outsider to the
in my opinion, one of the genre, however. Looking closely at the types of
guage and crime. We “Best Reads Ever”. (Amazon
approaches readers take while engaged in street fiction
“The Coldest”)
literary interpretation should assist with illuminating
wonder why our teens
As these responses reveal, these variations. Beach (8) contends that five group-
are so out of control! the appeal of street lit ings of theoretical foci best depict the range of reader
narratives derives, at least in response theorists and, thus, approaches to reading
Teens are not respon- part, from readers’ percep- stories: textual, experiential, psychological, social and
tions of literary quality (e.g., cultural. Each of these foci contributes to a fuller
sible enough to read this.
characters, storyline, theme) understanding of how readers construct meaning from
as well as the writer’s ability literature.
to depict a reality that resonates with her readership For example, textual response theorists such as
(e.g., “this book is how it is on the street”). However, Rabinowitz and Smith (54) discuss the ways readers
the depth and range of critiques found on Amazon rely on text-based narrative and genre conventions
certainly stand out as noteworthy, as a post by when making sense of fiction. Adolescent street lit
“chocolate” about Wahida Clark’s Thugs and the readers taking this stance might, then, pay close
Woman Who Love Them (which is ranked # 249, 389 attention to how the realism of the genre is con-
on January 12, 2009 on Amazon’s best selling cat- structed, perhaps stating an interest in how writers
egory) suggests: bring readers along through plot construction. An
I am not sure if I read the same book that all the other
example of this stance emerges in the following
reviewers read. I really wanted to love this book, but it wasn’t comments by ‘chocolate’ who describes Thugs and the
my cup of tea. . . But for the most part, I was never on the Women Who Love Them (Clark):
52
THE ALAN REVIEW Winter 2009
i48_55_TAR_Win09 52 3/6/09, 2:16 PMThe story didn’t have a moral or even a followable storyline Lastly, from social
to me. One page will talk about one of the girls going to the
club, shooting heroine and then the next page she will be a
(Lewis and Fabos 482) or Rabinowitz writes about
cultural (Beach 87) reader
aspiring doctor. (Amazon “PP Thugs”)
response stances, adolescent rules of signification;
Rabinowitz writes about rules of signification; among girls and young women
these are narrative conventions in which the “autho- might opt to read these
among these are narra-
rial audience and the narrative audience must share books because they provide tive conventions in
some beliefs about reality in order for the situations a forum for discussion
and actions to have the consequences they do and for amongst their family and which the “authorial
the plot to get from point A to point B” (100). The friends, either through face
reader above appears quite troubled by the inconsis- to face communication, audience and the narra-
tent rules of plot structure coupled with characters’ posting messages to sites tive audience must
seemingly unbelievable hopes and dreams. such as Amazon, written
From experiential (Rosenblatt 22) or psychological messages via e-mail or by share some beliefs
(Holland 29) reader response stand points, readers of text messaging. These
street lit might become engaged because the storylines interactions can also provide about reality in order for
allow them to vicariously and emotionally live feelings of group member-
the situations and ac-
through experiences that resemble their own lives. ship and define cultural
Research has shown that, at times, African American practices of reading in out of tions to have the conse-
girls and adolescents do identify with stories about school settings as the next
others who look like them racially and with respect to post indicates: quences they do and for
gender, but identification represents neither a static
nor uncritical reading of a text (Brooks, Browne, and
While at work on a Saturday I the plot to get from
stopped at my friends desk and
Hampton 665; Davis 260; Sutherland 391). For she just so happened to be point A to point B”
instance, Radway (71) studied a group of women who reading this book. She told me
avidly read romance novels. She found that even I just had to read it since she (100).
when texts rhetorically and discursively depicted wasn’t able to put it down.
Right then and there I left the
patriarchal ideologies, romance readers reinterpreted
building, walked across the
the ideologies. The women viewed their reading street, and purchased the book immediately. I started read-
purposes as resisting the text as well as re-imagining ing that Saturday and didn’t put it down until Sunday night.
life circumstances. Street literature may be for some YES, I FINISHED IT THE ENTIRE BOOK IN A LITTLE OVER
readers, therapeutic and empowering as J. Brea, an 24 HOURS!!! I then passed it to my mom & she couldn’t put
Amazon critic of The Coldest Winter Ever (Souljah), it down. Then to my cousin and then her gentleman friend.
I am an avid reader and this book tops my top 3 books of
points out:
ALL time. It’s been 5 years since I read it and now I’m
First Off this Book is a must buy no Questions Asked! dying to read it again. So after buying a couple of copies for
As a hispanic female born in harlem raised in Yonkers I can gifts, I’m back to buy another for myself. (Amazon “The
relate to many “Black” girls in the neighborhood. This Novel Coldest”)
Not only Spoke the truth but gave you front seat to the
Moreover, because these texts often flourish outside of
same world we live in only through the eyes of someone
from the “hood”. You will Notice how most of the things the school curriculum, an unusual blurring has
that happen to Winter are self fulfilled prophesies and some- occurred. An out-of-school literary pastime encourages
times what we think we need is just what we want, not a its readers to come together socially around books.
necessity nor an asset. Will Have you thinking twice about Learning transference across contexts appears to be
the route you’re taking. A real Eye opener! (Amazon “The
taking place.
Coldest”)
Here the story helps the reader answer subconscious Practice and Research Implications
or unanswered questions about her own life because
she lives through the protagonist’s experiences. Notwithstanding the explosion of this emerging genre,
a search on the Ebsco Host ERIC Database, using the
53
THE ALAN REVIEW Winter 2009
i48_55_TAR_Win09 53 3/6/09, 2:16 PMfollowing terms: “street lit,” “hip hop lit”, “ghetto lit,” response forms such as electronic, oral, written, poetic
“gansta lit” and “urban fiction” returned one research and artistic might prove valuable. We also argue for
article based on a public library program and a mere the importance of discussing street fiction with youth
six articles focusing on genre descriptors and in out of school settings where fewer restrictions guide
unmethodical summarizations of these texts. Rather the solicitation of reader interpretations. Results of
than research- or practitioner-based literacy or literary these types of studies might eventually inform wide-
journals, writers for magazines, newspapers and web ranging ideological discussions about the social
sites sit at the forefront of this literary trend. On the constructions of ethnic groups, cultural shifts as well
whole, literary scholars, educational researchers and as the heterogeneity of gender construction, sexuality,
classroom teachers remain at the periphery of emerg- urban life, and adolescence.
ing debates surrounding street fiction’s popularity To conclude, because educators often encourage
although the demand for these books continues to youth to spend time engaging in literary pursuits for
increase. For instance, nine years after the release of leisure, giving increased attention to this genre and its
the best seller The Coldest Winter Ever, Souljau’s readership appears to be justified and needed. Schol-
newest tale, Midnight: A Gangsta Love Story has arly input will be invaluable to practitioners who
already been reviewed by a Washington Post Newspa- continue to gauge whether and how literature influ-
per columnist (Valdes C05). To date, 113 comments/ ences or subverts the literacy, cultural and moral
responses on Amazon.com (just two months after the development of youth, particularly those identified as
release) have been posted about Midnight (Souljau) “resistant” or “disengaged” learners.
along with five active links on the discussion board
(Amazon “Midnight”). Wanda M. Brooks is an assistant professor of literacy
How might practitioners, literary critics and education in the College of Education at Temple Univer-
educational scholars attend to the growing street sity, where she teaches graduate and undergraduate course
fiction phenomenon? A recent article by Hill, Perez, related to literacy theories, acquisition and instruction. Dr.
Brooks’ research interests include the reading processes of
and Irby (79) represents a step forward. The authors
African American middle school students, reader response
suggest ways English teachers might incorporate these
analyses of African American children’s and young adult
texts in their classrooms. The article provides a
literature, and literacy events and practices of adolescents
thoughtful list of possible approaches, such as allow- in after-school settings. She has published in Reading
ing students to edit the street fiction narratives, to Research Quarterly, The New Advocate, Children’s
conduct literary analysis on the stories as they are Literature in Education, Journal of Children’s Literature,
bridged to the analysis of canonical and contemporary English Journal, and The Journal of Negro Education.
literature, as well as to compose their own version of a Before coming to higher education, Dr. Brooks taught at
street lit saga. the elementary and middle school levels for six years.
Because we reside in the infancy stage of this
dialogue, we suggest examining these stories more Lorraine Savage is a doctoral student in Urban Education
closely to uncover some of the underlying areas of at Temple University. Her research interests include
appeal for readers as we generally attempted through African American student achievement, culturally relevant
pedagogy, and high school dropouts. Before Temple, she
this article. Since reading this genre manifests largely
worked as an academic counselor for high school students
as an out-of-school reading practice, scholars and
in New York City. She has a Master’s degree in Education
practitioners involved with youth in these capacities
from Hunter College.
(e.g. after-school clubs, sports leagues, community
groups, etc.) have been given an unusual opportunity Works Cited
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———. “PP Thugs and the Women Who Love Them.” Online
of readers’ interpretations through a wide variety of
posting. Amazon.com Customer Reviews Web Forum. 1 Dec.
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