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If the 1930s was the Swing Era, then the years from 1937 on might well be called the Jump Era. That summer Count Basie recorded "Jumping at the Woodside," and suddenly jump tunes seemed to be everywhere. Along with the bouncy beat came a new dance step -- the high-flying aerials of the jitterbuggers -- and the basketball games that took place in the dance halls of African America became faster, higher, and flashier. Duke Ellington and a cast of hundreds put the buoyant spirit of the era on stage with their 1941 musical revue, Jump for Joy, a title that captured the momentum and direction...

Observers of American society have long noted the distinctive contribution of African Americans to the nation's cultural life. We find references to African American music and dance, black forms of oral expression, even a black style of playing basketball. But what do such terms really mean? Is it legitimate to talk about a distinct African American aesthetic, or is this simply a vestige of an outmoded racial essentialism? What makes a particular form of cultural expression "black" other than the fact that some African Americans may practice it? These are some of the questions addressed in...

For the past forty years, Paul Bowles has answered questions about the autobiographical references in his novels (The Sheltering Sky, Let It Come Down, The Spider's House, and Up Above the World) and about his work as a composer in New York, all the time insisting, -I don't want anyone to know about me.-

In these more than twenty interviews dating from 1952 to the present, Bowles gives a variety of answers that reveal as much as they conceal. Too gracious to refuse interviews, he regards inquiries with the same clear-eyed detachment that marks his prose,...