Return to the African Mother Principle of Male and Female Equality

Dr. Oba T’Shaka

In Return to the African Mother Principle, Dr. T’Shaka painstakingly unravels the rhetoric of a question so basic, we seldom consider that the issue is till a question: what is feminine and what is masculine? Dr. T’Shaka sifted through several texts by some of the most revered “authorities,” and found cultural facts had been mistaken for universal truths.

Oba T’Shaka pulls up some weeds in the Garden of Eden to help us pull ourselves together. His research indicated that creativity is our most vital aspect and recommends that we cherish it or loose it. With the rising cases of AIDS, breast and prostate cancers in the Black community, we need to be more clear on the natural function of the sexes now. In scholarly and philosophical language,  Dr. Shaka outlines the creative perspective of sexuality based on African traditions:

“Miles Davis, one of the most creative Black classical (Jazz) musicians in the history of music, is describing the improvisational, creative concentric path that Black singers, musicians, dancers, writers, scientists, and speakers follow, where they sing, blow, dance, write or preach what they know, and then they cut loose and take themselves, and go above themselves to a higher creative place. Miles makes it clear that the creative person doesn’t just seek to get to this place once in a lifetime, by rising above yourself, you are continually seeking to fly higher and higher to new levels of consciousness, creativity and action. You can only do this when you combine the intellectual, masculine known, with the feminine, intuitive unknown. When the synthesis takes place between the known (masculine) and the unknown (feminine) a new music, a new dance, a new literature, a new philosophy, and a new people can come about. Miles tells us that this willingness to go above what we know is where we find true freedom.”

–Oba T’Shaka from Return to the African Mother Principle of Male and Female Equality

paper 27.95


Toni Morrison

Beloved is based on a true story about a woman who tried to kill all her children to keep them from the horrors of slavery. One of them, the baby, died. In retelling the tale, Morrison gathers dis-membered branches and fallen be-leafs from the foot of the tree of humanity–parts that were severed by American slavery. She revisits the moments of dismemberment of the slave’s sense of self and the slaver’s separation from conscience.

American slavery was one of the cruelest scars in history. Knowledge of the horrors endured (and un-endured) is essential to healing parts of ourselves that are seemingly held together by the speed at which we run away from the memory. Beloved re-minds us of that terrible time that won’t heal unless it is faced squarely. We are forced to take our time with this book.  Toni Morrison dis-members the heroine’s story (in the same way that the slave’s self was fractured). There are gaps in the storyline: horrifying holes like open graves in the road (out of which cruel realities flower). Most of the bridges of reason are out (except the ones made of the reader’s compassion). The cruelty seems unbelievable (except that in American slavery, cruelty was common and compassion was the exception).

Only with trust do the puzzle pieces of the self put themselves together along “fault lines” of character.  As the puzzle pieces connect, the reader has to choose between focusing on the “fault lines” or the beauty she paints of the landscape of the slaves’ higher consciousness.

At these junctions, and their disappearance, lay the many miracles of this love story that is considered to be the best American novel of the Twentieth Century. Toni Morrison received the Pulitzer Prize for Fiction for Beloved and the Nobel Prize for Literature among many other major awards.

Cloth 29.95

Paper 15.00