Richard Milner IV, “Culturally Relevant Pedagogy in Diverse Urban Classroom,” Urban Review 43 (2011): 69.Įdward E. Houston Baker, Jr., Blues, Ideology, and Afro-American Literature: A Vernacular Theory (Chicago: University Press of Chicago, 1987), 5. Terri Simone Francis, “Flickers of the Spirit: ‘Black Independent Film,’ Reflective Reception, and a Blues Cinema Sublime,” Black Camera 11, no. Rountree, “Overcoming Violence: Blues Expression in Sapphire’s Push,” Atenea 24, no. This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. I believed she would help ensure that the novel’s essence would be adapted into the film while maintaining sensitivity in the portrayals of the novel’s subject matter and characterizations. However, when I learned that Oprah Winfrey was one of the producers, some of my concerns were initially assuaged, since Winfrey has been open about her own sexual abuse experiences and her personal blues experiences. I had read the novel years before and thought it was worth the “movie treatment.” And although it was fortunate that an African American literary work, one that I think greatly represents contemporary African American literature and that made it to the silver screen, when many do not, I had reservations because films are often poor renditions of the novels, at best. When I heard that Sapphire’s book, Push (1996), was going to be made into a film, Precious (2009), I had mixed feelings.

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