Chief Justice John Roberts administers the oath of office to President Barack Obama. (official White House photo by Lawrence Jackson) “Hope drowned in shadows emerges fiercely splendid–– boldly angelic.” --Aberjhani, from The River of Winged Dreams One of the political jabs with which critics of Barack Obama used to attack him during his first run for the U.S. presidency was that his proposed platform was more rhetorical poetry than political substance. That charge has been largely reversed at this 2013 beginning of his hard-won second term. The cry now––mostly from those frequently described as extremist conservatives, Tea Partiers, and the “ New Plutocrats ”–– is that the poet in President Obama has allowed power to exert its corruptive influence. It has, they charge, caused him to imagine that he is “a king” in a country where monarchy is not the law of the land. The supposed evidence is his successful passage of the Patient Protection and Affordable Care Act

The election of Barack Obama to the United States presidency represents more than one man’s personal political victory. It also in part represents the triumph of the cultural values, diverse spirituality, and enduring legacies of a people who survived centuries of slavery to emerge as a globally influential and celebrated community. Stocks in products exploring and documenting African-American culture have ebbed and flowed since the 1920s-1940s Harlem Renaissance which helped generate and coincided with America’s famous Jazz Age. Interest surged forward again during the 1960s Black Arts Movement and yet again with the more recent boom in Afrocentric literature, in both traditional publishing houses and among independent authors turned publishers, from the 1990s to the present. The impact tends to be a cross-industry one that enhances the quality, productivity, and profitability of different institutions. Universities, high schools, museums, libraries, the film industry, and