Fort Hill writer focuses on black intellectuals, past and present

Fort Hill writer focuses on black intellectuals, past and present

Lisa Joseph

"Black Genius and The American Experience" -- certainly a formidable title, and a gargantuan subject to broach -- a multifaceted project for a writer of any stripe.

Dick Russell, former TV Guide staff writer, Sports Illustrated reporter, and author of "The Man Who Knew Too Much" came up with the idea to write this book two years ago right about the time when "The Bell Curve," which he calls an insidious piece of work due to its lack of authenticity, was creating such a stir.

Russell was also interested in writing something that he could pass along to his son Franklin, who is biracial.

"It's not an ideological or political book at all, and that is by intent," says Russell. "This book is about spirit. I learned a lot about the spirit that built this country."

"Black Genius and The American Experience" is a collection of interconnected vignettes about 38 different African Americans -- 29 men and nine women -- who have made significant contributions to their communities, and to the world at large; from the spiritual oratory of Sojourner Truth to the inspired photography of Gordon Parks, from the powerful writings of Frederick Douglass to the mellifluous strains of Wynton Marsalis' trumpet.

Russell wanted to focus on those individuals who had quietly and methodically cultivated their genius without much fanfare, those little-known beyond close-knit artistic, literary, and scientific circles.

"There were so many incredible people, many of whom I'd never heard of that have certainly contributed so much to American culture, and the history of our country," says Russell. "I really wanted to allow their voices to be heard."

Russell's book is structurally unique -- he rarely writes in third person format, preferring to let the quotes from his subjects, and their relatives and friends tell the story. In this way "Black Genius" flows continuously, hardly breaking sequence even when jumping back and forth in time, going from prolific modern-day author Toni Morrison to 18th century mathematician, astronomer, inventor, and almanac writer Benjamin Banneker.

It was Russell's intention to write according to parallels of confluence rather than chronology. He wanted to interweave voices in a way that emphasized the themes of the book: family and intergenerational continuity, spirituality and dilligence, and activism and struggle.

Russell spent two years researching and interviewing his subjects -- spending the majority of his time in Harlem's Schomburg Center for Research in Black Culture.

"It was very difficult in the beginning ... I originally considered it historical and linear. I started out doing historical research, and wrote a few chapters, but it was flat," he said.

After sending his manuscript to several friends and colleagues for critical feedback, the tone of the book was altered.

"I wanted to make the book as personal as possible," he comments. "The hardest task was trying to figure out who to write about."

And so, Russell let the book write itself by following a thread that led him from one person to another. For example, it was a writer acquaintance, Jack Newfield who led Russell to writer Stanley Crouch, who talked about Ralph Ellison, then led him to their mutual friend, Albert Murray, who then led him to his painter friend, Romare Bearden.

"I accepted people who identified a certain theme which I found to be very striking -- mentors and ancestral links across centuries," he says.

The mild-mannered and introspective Russell lives in what can only be called a beautiful fortresscum-Chatham summer cottage on Fort Hill Terrace in Roxbury -- just a few steps away and across from the historic white standpipe tower -- with a view that rivals San Francisco's skyline from its steepest hills.

At the onset of writing this book, Russell questioned his capabilities -- not being a scholar nor African American he wondered if he had anything valid to offer -- only to realize that he wanted the book to transcend race and ethnicity, and focus on accomplishment and merit. He believed that the accomplishments of individual African Americans were lessons for a larger society.

"The greatest lesson that these great people have to teach America has to do with a greater sense of destiny," says Russell, his blue eyes pensive behind steepled fingers. "That is the common thread that I'm talking about."

The book is split up into several parts including comparative chapters that look at the legacy of philosophical thought as well as pivotal interacial friendships between the likes of Robert Kennedy and James Baldwin, and Eleanor Roosevelt and Mary Mcleod Bethune.

Russell made a conscious decision to avoid writing about athletes and financiers, because too often black achievement is equated with those fields -- especially the former. He wanted to focus on people who were not as well known, but had made valuable contributions.

"I think there were a number of motivations connecting these people," says Rusell. "These are very driven people. Many were self-taught, and a number of them grew up without a mother or father. I sincerely wanted to tell their stories."

It is interesting to note that during the writing of "Black Genius and The American Experience" each time Russell wrote a chapter about someone, he would send them a copy of the draft to corroborate facts and make corrections.

He gives credit to his various subjects for essentially writing the book. "I hope that when people read this book, they come away with a stronger sense of what America is all about, and who really built it." he says.

Photo (Dick Russell)