the snooki versus tony morrison conundrum you and i discussed here.ows it to happen. >> getting attention. and an economic model no longer values creation, production or intellectual property. in fact, it's considered worthless. the economic model only values the ability for any individual to acquire attention. >> because we allow it to. no one showed up for snooki, she wouldn't be a commodity. same athe policy. >> that's it. you should do a keli goff test for all of

asounded that i wanted to teach ishmael reid and cecil brown and barry beckham and alice walker and toni morrison. they were not teaching those courses. somehow those normals of the '70s and '80s have dropped out. those novels relate more to what you're talking about. i think there are novels that students can relate to more easily because they're dealing with subjects that may be not quite as old as some of the weeks -- books that you're talking about. >> we'll take one more question. >> thank you all for coming today. >> two more questions. [laughter] >> nice catch. [laughter] my name's khalil muhammad, i'm the new director of the schaumberg, and so this is a real honor to be here. >> [applause] congratulations. >> my question has to do with postracialism or the age of obama. a moment in which the kind of authentic black voice seems to be buried along with the n word as a creature of the jim crow era and everything that came before. what i'm wondering is, um, if black people are disappearing from networks as i think we talked about, and the issue of creative control, um, is one that is still a

one thing that comes to mind off the top of my head is toni morrison, "the bluest eye." civil rights movement to me that's the biggest problem with the book. it is a historic one. as i point out in my piece, it dates back to a movie from the '80s called "mississippi burning" and even further back. >> one of the actresses, viola davis, certainly you know they have been hearing some of this criticism. we talked to her here at cnn. take a listen to what she had to say and we will talk about it on the other side. >> i have to be honest, i had trepidation. hi trepidation because -- because she is a maid in and in 2011 i feel a great responsibility depicting images of black women that i feel a areder rare derogatory. i felt that mostly because i love quiet characters. that's because i'm -- i'm an actress. i love creating characters that are complicated and have layers. but i didn't necessarily believe that people would get abilene because of that, because she so quiet. i just thought that they would just see the maid and i was just very worried about the backlash from that. >>

professional and post if you appear the second quote is from the epigraph of the prologue and it is from toni morrison'ser with the unit now and feeling it through beloved and the more fine points she made, the more details she provided, the more beloved like 10. so she anticipated the questions by giving blood to describes her mother and grandmother told her in a heartbeat. denver spoke to love that listened in the two took the best they could to create what really happened, how it really was something only staff the new because she alone had the mind for it and the time afterward to shape it. so the second quote points to one of my great concerns in writing the book, the ati to recover my family's past, not my mother, but my great, great grandparents, great grandparents and so forth and realizing they were at their memories and not memories. so how could i tell the story of memories that were not my own and that it just come down to me and scraps? and how could i then give blood and heart he to the scraps? so that was my second much more personal motivation for writing the book. and indeed, i have a h

professional and post if you appear the second quote is from the epigraph of the prologue and it is from toni morrison's beloved. denver with the unit now and feeling it through beloved and the more fine points she made, the more details she provided, the more beloved like 10. so she anticipated the questions by giving blood to describes her mother and grandmother told her in a heartbeat. denver spoke to love that listened in the two took the best they could to create what really happened, how it really was something only staff the new because she alone had the mind for it and the time afterward to shape it. so the second quote points to one of my great concerns in writing the book, the ati to recover my family's past, not my mother, but my great, great grandparents, great grandparents and so forth and realizing they were at their memories and not memories. so how could i tell the story of memories that were not my own and that it just come down to me and scraps? and how could i then give blood and heart he to the scraps? so that was my second much more personal motivation for writing the book. and inde

professional and post if you appear the second quote is from the epigraph of the prologue and it is from toni morrison's beloved. denver with the unit now and feeling it through beloved and the more fine points she made, the more details she provided, the more beloved like 10. so she anticipated the questions by giving blood to describes her mother and grandmother told her in a heartbeat. denver spoke to love that listened in the two took the best they could to create what really happened, how it really was something only staff the new because she alone had the mind for it and the time afterward to shape it. so the second quote points to one of my great concerns in writing the book, the ati to recover my family's past, not my mother, but my great, great grandparents, great grandparents and so forth and realizing they were at their memories and not memories. so how could i tell the story of memories that were not my own and that it just come down to me and scraps? and how could i then give blood and heart he to the scraps? so that was my second much more personal motivation for writing the book. and inde