By Rochelle Alers
From the writer of the bestselling Hideaway novels comes the 1st in a blinding, horny new sequence, The Wainwright Legacy, chronicling the lives and loves of 2 prestigious manhattan families.
High-profile attorney Jordan Wainwright is knowledgeable at uncovering the reality for his consumers. yet he guards his personal secrets and techniques heavily, specially these surrounding his adoption through the strong Wainwright kin. assembly lawyer Aziza Fleming at a celebration, he's captivated via her ambition and sensual heat. even if Aziza insists she's no longer searching for whatever severe, their informal dates spill over into sultry, pleasure-filled nights.
Aziza has been burned two times before—first by way of a foul marriage, then through a harassment case that just about destroyed her occupation. refined and irresistibly attractive, Jordan may be every little thing she wishes, if he proves to be the reliable guy she wishes. although, he'll need to choose—between maintaining a decades-old mystery, or embracing their newfound ardour.
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Extra resources for Because of You (The Wainwright Legacy)
But even as interrogative and critical of homophobia and a variety of other “isms” as D/DC is, some problematic nationalist ideology remains. I. in the quote above. As reference to the Nation of Islam’s security force, the Fruit of Islam, this seems a discordant image to me, given the Nation of Islam’s homophobic objections to homosexuality. ; where Nation of Islam members would band together with blacqueer-than-black folks and “intimidate white house gates”? Is this a moment of transcendence, like the one Reid-Pharr talks about in his essay, that something like the Million Man March can achieve despite itself?
A nation is something that can raise an army . . a community is something that is legally refused the raising of an army. 39 Delany’s comment illustrates that the term “nation” functions as a shield to deflect attention away from the oppressed community. Assumption of dominant terminology by oppressed communities, he seems to suggest, is a tool or a weapon against the forces that suppress and threaten these marginalized communities. The use of “nation,” then, is a tactic more than a description; it is a defensive gesture in the face of an offending system, in the face of a literal and armed nationalism.
By replicating Tate’s definition of hip-hop as radical in the visual liner notes here, NdegéOcello extends the radical implication of Tate’s words to include the possibility of the articulation of a queer identity. If, as Tate maintains, “Hiphop is the inverse of capitalism / Hiphop is the reverse of colonialism,” how does hip-hop (or can hip-hop) reverse or invert sexual and gender identity? This hip-hop discourse, superimposed on NdegéOcello in a suit, marks her trespass of forms of male expression, power, and privilege.