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You're a powerful, black lady, is that statement a praise, a burden, Sexy Librarian Big Tits Pics a reality or a fantasy? Welcome to the show. The guide is "Fierce Angels: A robust Black Lady in American Life and Tradition." It was written by Professor Sheri Parks. There's a brand new guide on the market that explores the origins of the idea and its psychological and emotional cost. She joins us from WYPR in Baltimore.

Professor SHERI PARKS (Author, "Fierce Angels: A robust Black Woman in American Life and Culture"): Hello.

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KEYES: So, former Essence editor Susan Taylor mentioned your ebook opens a window onto female black energy, both the reverence for it and what it's wrought. Is that what you were setting out to do?

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Prof. PARKS: Nicely, yes, I was attempting to elucidate something that was going on in my own life and something that I saw in other girls's lives that we had been dwelling, however not understanding. So, sure, that is precisely what I used to be attempting to do.

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KEYES: Talk to me about who you see as robust, black girls right this moment. Our first lady Michelle Obama, Oprah Winfrey, who else?

Prof. PARKS: Well, there are certainly those, but there are many girls in on a regular basis life. And, really, I am even more involved about them, these ladies who grow up with the expectation that they will take care of everybody, and people who anticipate them to take care of all people. I'm suggesting that black girls already have an organically grown, traditional mannequin of feminine energy that they use to maneuver by way of the world, however that the expectations which might be placed on them due to that are often exhausting.

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KEYES: Let's listen to a clip of Oprah from the movie "The Color Purple," where she's taking part in the wonderfully robust character Sofia.

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(Soundbite of film, "The Coloration Purple")

Ms. OPRAH WINFREY (Host, Actor): (As Sofia) All my life I had to combat. Lady, little one ain't secure in a household of males, however I ain't by no means thought I needed to battle in my own house. I had to battle my uncles. I needed to battle my brothers. But I am going to kill him lifeless before I let him beat me. I loves Harpo. God knows I do. I had to fight my daddy.

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KEYES: I wonder, Sheri, is it that Oprah or the eternally empathic speak host Oprah that embodies the robust, black woman or is it each?

Prof. PARKS: Well, each. And there is a quote within the guide from Coretta Scott King who says that black lady are sturdy as a result of they've needed to be sturdy. Actually in "The Colour Purple," Alice Walker is trying to say one thing about black girls being created by the circumstances of their lives. And positively that is there.

However, additionally, I do not suppose you can clarify the sheer energy that Oprah has in American life with out referring again to this image. But she's additionally, I think, learned to look after herself, which is something that many black ladies should not giving themselves permission to do.

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KEYES: I'm involved that you simply mentioned that, because I remember Octavia Butler's sci-fi novel "Kindred," where she travels back in time and ends up having to help her white slave-proudly owning ancestor and injures herself actually badly in the method. How much is that this friendly savior thought affecting ladies?

Prof. PARKS: Nicely, one of many things that - I'm never saying that black women are the one sturdy girls, I'm saying that black girls are the women on this tradition who're repeatedly celebrated for being robust. And that i imply dirty in the entire ways in which we are able to think of that. And so, historically there are conditions the place the 2 photographs are performed against each other, definitely throughout slavery, the weak, fragile, white Victorian very best of a white lady was solely made doable because there were black ladies round to do the soiled work.

I additionally say that that image is one thing that has possibly been preserved the strong lady has been preserved by black women, when all ladies sooner or later of their lives must be strong. And it's one thing that we prepare in our ladies and something that we grow up anticipating to should do and that different folks expect it of us. Possibly black women have many extra circumstances during which they must be strong.

KEYES: However hasn't that picture virtually been co-opted by the people who paint black girls as indignant? Is that who we're? They're, like, there's that African-American lady strolling down the street, or more accurately, strutting down the road carrying her sword and shield.

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Prof. PARKS: No, that's not who we are. But, I mean, you used the phrase co-opted, and I feel what's important to understand is that this role is sort of all the time co-opted in some way. And should you consider the pictures, we often see that strong, black woman in the function of the lieutenant, where she's working for the benefit of another person. Certainly in slavery that strong, black girl was literally co-opted for using the slave grasp.

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Black ladies often feel that because of that, that this is a task that we must always run away from. And I am saying, you probably have a role in a culture that has such a powerful and historical presence in a culture, perhaps we must always flip around and take a look at it, which is what I am trying to do in "Fierce Angels," is to have women look at this image and see for themselves what they need to do with it.

KEYES: I need to speak slightly bit about Hattie McDaniel, the mammy from the film "Gone with the Wind." You are saying that the perception of her is as a result of individuals don't understand who she is. She's been misunderstood. And instead of being this subservient particular person, she was really infusing her roles, and that function particularly with some problem and pushback.

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(Soundbite of "Gone with the Wind")

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Ms. HATTIE MCDANIEL (Actor): (As Mammy) I have advised you and informed you that you would be able to at all times tell a lady by the way that she eat in front of folks like a bird. And i ain't aiming for you to go to Mr. John Wilkes's and eat like a field hand and gobble like a hog.

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Ms. VIVIEN LEIGH: (As Scarlett) Fiddle-dee-dee. Ashley Wilkes told me he likes to see a woman with a healthy appetite.

Ms. MCDANIEL: What gentlemen says and what they thinks is 2 various things. And that i ain't observed Mr. Ashley asking for to marry you.

Prof. PARKS: When you really go and watch the film, she does an unlimited amount of fussing in the movie. She would say, aren't white people foolish to think that these ladies who work for them love them that much? And one of the things she did was to mock the image of the mammy. She had a racially uplifting theater profession before she went to Hollywood. What Hattie was doing at that second was being subversive. She's a foul maid.

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And she thought she may carry that image into Hollywood and naturally found that Hollywood wasn't a lot all in favour of that. And so we actually do misread and i say that usually African-Americans have given away their foremothers to this image of the mammy. But she continued to attempt to infuse subversiveness into her roles. And in case you return and have a look at what women who're playing these mammies, women who have been actually residing the role as mammies, they have been often working very laborious to make use of what energy that they had for the good thing about their families and their communities.

KEYES: You are listening to tell ME Extra from NPR News.

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We're speaking about the picture of the strong, black lady with Professor Sheri Parks. She's author of "Fierce Angels: A powerful Black Woman in American Life and Tradition."

Sheri, I wanted to speak to you about the sacred, dark feminine this historical archetype that you just have been talking about. Really, this image has been alongside all the way again to what number of a whole lot of years?

Prof. PARKS: It's again to the primary recorded creation tales the place and I am very thinking about the truth that particle physics says primarily the identical factor, that before there was anything else, there was darkness. But after all the historic mythology mentioned, after which she gave delivery and the world begins. And so this may be very... I found situations of the sacred, darkish feminine on each continent.

KEYES: Really? Because I've seen mother-driven cultures, but I think I've seen that mostly, like, among the many Vikings and that type of factor. Was it really it's Africa, it's everywhere?

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Prof. PARKS: It is in every single place. I imply, they are all over the place for those who begin on the lookout for them. What you noticed is that the Celts really held onto it overtly longer than any European folks. There are darkish Madonnas throughout South and Central America. However there are black Madonnas all over Europe. There are the Native American corn goddesses.

KEYES: It's interesting once more that you just say that. We had been talking earlier in regards to the picture of the robust, black woman being hijacked. If there's all this reverence for this person, how can that be? And between the campaign to paint the first lady, Michelle Obama, as an indignant, black woman, there is a film known as "Diary of a Tired Black Man," I mean, when you learn a few of the media out there, it looks like no one values an African-American girl's strength or her heart.

Prof. PARKS: Well, the flipside of reverence can be fear. All individuals needed to do was attach the label to some pretty non-offended habits. Actually Michelle Obama was painted as an angry, black lady and notice, with very little evidence. And that's why so lots of the most well-liked images are together with her beneath control. But the label alone had a lot foreign money and fear hooked up to it. That concept that this strong, black woman goes to be out of management is vital to understand.

And that concept that the robust, black woman out of management turns into this out of control, angry picture is a very dangerous one for black ladies because when people worry somebody, they may attempt to harm them. And, two, that if they are not accountable for her, she's going to get out of management. And I think many black women have discovered that often they have been damage by people who, one, assume that she can't be harm. That she's too robust to be damage.

KEYES: Sheri Parks, writer of "Fierce Angels: The Robust Black Woman in American Life and Tradition," joined us from our member station WYPR in Baltimore. Thank you a lot for an attention-grabbing conversation.

Prof. PARKS: Thank you.