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A review of Ng ang a Mbugua s novel, Different Colours
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In
Dreaming the Marsh (Twisted Road, 2019), a giant sinkhole begins swallowing an enormous swath of a marsh-like ecosystem that has been slated for development, along with parts of a highway and a large lake. The citizens of Opakulla, Florida, struggle to understand what is happening as the land is sucked under. They’re also perplexed by un-erasable writing that appears on their new town hall. The sinkhole starts wreaking havoc with their lives and nobody knows what to do about it. A lovesick geologist wants to study it, the real estate developers relish its wild beauty, the mayor and members of the town commission want something done to stop it, and the owner of a local café, who speaks with the Ancients, understands it. But she isn’t telling.
In his book
Groove Theory: The Blues Foundation of Funk, Tony Bolden explores the physical, aural, and spiritual roots of funk music. Drawing connections from jazz, literature, and political movements and thought, Bolden makes the case that funk isn’t just about music, but about a larger feeling and language in Black music and culture. He covers not just the history of funk music, but also devotes some chapters to artists like Sly Stone, Betty Davis, and Chaka Khan, weaving in how race, commercial pressures, and gender played a role in their musical legacies. The undercurrent of funk and funkiness whether that’s defined as music, feeling, language, action, or simply a way a being rests in the blues, Bolden explains: “the blues and funk are not just musical forms; they are interrelated concepts.”