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Carolyn Marie Wilkins - They Raised Me Up: A Black Single Mother and the Women Who Inspired Her

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Carolyn Marie Wilkins They Raised Me Up: A Black Single Mother and the Women Who Inspired Her
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    They Raised Me Up: A Black Single Mother and the Women Who Inspired Her
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They Raised Me Up: A Black Single Mother and the Women Who Inspired Her: summary, description and annotation

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At the height of the cocaine-fueled 1980s, Carolyn Wilkins left a disastrous marriage in Seattle and, hoping to make it in the music business, moved with her four-year-old daughter to a gritty working-class town on the edge of Boston. They Raised Me Up is the story of her battle to succeed in the world of jam sessions and jazz clubsa mans world where women were seen as either sex objects or doormats. To survive, she had to find a way to pay the bills, overcome a crippling case of stage fright, fend off a series of unsuitable men, and most important, find a reliable babysitter.

Alternating with Carolyns story are the stories of her ancestors and mentorsfive musically gifted women who struggled to realize their dreams at the turn of the twentieth century:

  • Philippa Schuyler, whose efforts to pass for white inspired Carolyn to embrace her own black identity despite her damn near white appearance and biracial child;
    • Marjory Jackson, the musician and single mother whose dark complexion and flamboyant lifestyle raised eyebrows among her contemporaries in the snobby, color-conscious world of the African American elite;
    • Lilly Pruett, the daughter of an illiterate sharecropper whose stunning beauty might have been her only ticket out of the Jim Crow South;
    • Ruth Lipscomb, the country girl who dreamed, against all odds, of becoming a concert pianist and realized her improbable ambition in 1941;
    • Alberta Sweeney, who survived a devastating personal tragedy by relying on the musical talent and spiritual stamina she had acquired growing up in a rough-and-tumble Kansas mining town.

      They Raised Me Up interweaves memoir with family history to create an entertaining, informative, and engrossing read that will appeal to anyone with an interest in African American or womens history or to readers simply looking for an intriguing story about music and family.

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    Copyright 2013 by Carolyn Marie Wilkins University of Missouri Press Columbia - photo 1

    Copyright 2013 by Carolyn Marie Wilkins
    University of Missouri Press, Columbia, Missouri 65201
    Printed and bound in the United States of America
    All rights reserved
    5 4 3 2 1 17 16 15 14 13

    Cataloging-in-Publication data available from the Library of Congress
    ISBN 978-0-8262-2011-0

    Picture 2 This paper meets the requirements of the American National Standard for Permanence of Paper for Printed Library Materials, Z39.48, 1984.

    Design and Composition: K. Lee Design & Graphics
    Printing and binding: Thomson-Shore, Inc.
    Typefaces: Minion and Antique Olive Nord

    ISBN-13: 978-0-8262-7308-6 (electronic)

    For ELIZABETH and SARAH

    Acknowledgments

    This project would never have become a book without my family. My mother, Elizabeth, shared her memories and inspired me to Celebrate the Beautiful. My daughter, Sarah, provided tea, sympathy, and wisdom beyond her years. My brothers, David, Stephen, and Timothy, offered much-needed encouragement, and Ruth Spencer spent hours telling me Aunt Ruth stories. Sally and Jason Cooper, Ann Marie and Emelda Wilkins, and my Aunt Constance all helped me keep my head together.

    I'd like to thank Clair Willcox, Sara Davis, and the rest of the staff at the University of Missouri Press for helping me birth this project. My readers, Susan Fleet, Marsha Hunter, Melanie Maclennon, Rebecca Voigt, and Karen Ann Zien, also provided valuable feedback. A special thank-you goes to Gary Marx for his incisive critique of my first draft, and to Nancy McCabe who patiently reviewed this manuscript and walked me step by step through the process of making it better.

    I am grateful to all the historians and archivists who looked up material for me, sent me clippings, and generally steered me in the right direction: Mariah Cooper in Indiana, Ron Howell in Brooklyn, and Greg Kowalski in Hamtramck, Michigan; Debbie Swindle at Pittsburg State University and Tom Mullins at the Anniston Public Library; Sharon McGee at Kentucky State University, Kayin Shabazz at the Atlanta University Research Center, James Leedy at Bluefield State University, Ellen Hassig Ressmeyer at West Virginia State University, and Louise Dickens, the historian at Scott Methodist Church. A big thank-you also goes to Mrs. Iona Macmillian and Mrs. Hermetta Williams for showing me around Midway, Alabama.

    As always, I am deeply grateful to my husband, John, for his endless patience, clear-eyed editorial feedback, and unwavering emotional support.

    Carolyn's Inspiring Women

    Georgia Hall (1856?)

    Carolyn's great-great-grandmother. Born into slavery, she nurtured her daughters with music and instilled in them a deep sense of their intrinsic value.

    Lilly Pruett (18811930)

    Carolyn's great-grandmother. A survivor who used her physical beauty and musical talent to escape the Jim Crow South.

    Alberta King Sweeney (18971965)

    Carolyn's grandmother. In the face of disappointment and personal tragedy, she taught her children to Celebrate the Beautiful in art, music, and life, no matter what the cost.

    Elizabeth Sweeney Wilkins (1928)

    Carolyn's mother. A Harlem sophisticate who has jitterbugged in the Savoy Ballroom, seen Ella Fitzgerald at the Apollo, and studied piano in the home of Bla Bartk.

    Ruth Avery Lipscomb (19061967)

    The aunt of Carolyn's best friend, Ruth Spencer, Aunt Ruth was a critically acclaimed concert pianist during the late Harlem Renaissance.

    Philippa Schuyler (19311967)

    An early role model for Carolyn, this biracial child prodigy was known as the Shirley Temple of American Negroes. Schuyler's pianistic talent has still not been fully recognized.

    Juanita Marjory Jackson (19061995)

    Carolyn's great-aunt, known to all and sundry as Aunt Marj. A single mother, teacher, composer, musician, and social activist, Aunt Marj is the center of gravity both for her community and for the entire Wilkins family.

    A Note to the Reader

    This is a work of creative nonfiction. Its historical sections are drawn entirely and without embellishment from the sources listed in my footnotes. However, in the parts of the book that take place between 1986 and 1987, I have disguised some of the characters to protect their privacy. In writing about this same time period, I have also reconstructed conversations from memory and altered the chronology of certain events in order to create a smoother narrative. Pablo Picasso once said, Art is a lie which makes us realize the Truth. I hope that readers of this work will find their own Truth within these pages.

    Chapter One

    Carolyn and Sarah

    Somerville, Massachusetts, August 1986

    Blam!

    A heavy object thuds against my bedroom wall, startling me from a deep sleep. Heart pounding, I prop myself on one elbow and listen intently.

    Silence.

    I squint at the clock on the cardboard box beside my bed: 1:45 a.m. Stumbling into the bathroom, I press my ear against the wall.

    The banging has stopped.

    I tiptoe back into the bedroom to check on my daughter. If Sarah wakes up now there'll be no getting her back to sleep for the rest of the night. Fortunately, my four-year-old continues to sleep peacefully, sprawled in the center of the sagging double bed we share. As always, she is wearing her favorite pair of PJ's, the pink ones with the polka dots and the booties on the feet. And, as always, my daughter has her thumb in her mouth. Of course I know it's bad for her, but I just can't bring myself to make her stop. Over this past year, Sarah has watched her parents fight more often than I care to admit. If she needs to suck her thumb to cope with the stress, I am not going to stop her.

    I lift the covers and slide back into bed next to her.

    Blam!

    The thud of something falling in the next apartment rattles the only picture on my wall, a colorful Romare Bearden print of jazz musicians I'd bought three months ago to celebrate my divorce. This time, the banging is accompanied by the sound of voicesa man's yelling, a woman's high-pitched screams. I can't make out what they are saying, but clearly something ugly is taking place. A minute later I hear the sound of running footsteps, and the voices retreat, presumably to the other end of their apartment.

    For the tenth time this week, I ask myself whether it was a mistake for me to leave Tacoma. And for the tenth time this week, I remind myself that if I am ever going to realize my dream of making it as a jazz pianist, Boston is the place to be, at least for now. Maybe one day I'll move to New York City, the Mecca of the jazz universe. But I am a black single mother with a four-year-oldbiracial baby and no money. At the moment living in Somerville, a working-class suburb on the outskirts of Boston, is difficult enough.

    The voices have returned, and louder this time. The man, who sounds black and southern, is shouting. Where is it? Don't lie to me! You know where it is. The woman, whose race I can't identify, screams in response.

    Blam!

    Something lighter, glass by the sound of it, crashes against the wall.

    I roll out of bed and swing my feet onto the carpet. For once, I'm happy I couldn't afford a bed frameit's quicker and easier to get up from my sagging old mattress without one. Should I call the police? As I sit considering my options, the voices and footsteps retreat away from the wall, and my bedroom goes quiet again.

    Since my daughter and I moved in three weeks ago, I've heard these same neighbors fighting on several occasions, always late at night. Shady characters in sagging pants congregate on the stairwell next to their doorway, and it has crossed my mind more than once that perhaps they are selling drugs. Of course I should call the police. However, I had seen enough movies and read enough tragic front-page stories to know that turning in a drug dealer to the cops could have fatal consequences. Did I really want to put Sarah and myself in danger?

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