You're a powerful, black lady, is that statement a compliment, a burden, xxx photos a fact or a fable? Welcome to the present. The book is "Fierce Angels: A strong Black Woman in American Life and Culture." It was written by Professor Sheri Parks. There's a new book on the market that explores the origins of the idea and its psychological and emotional cost. She joins us from WYPR in Baltimore.

Professor SHERI PARKS (Creator, "Fierce Angels: A powerful Black Lady in American Life and Tradition"): Hello.

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KEYES: So, former Essence editor Susan Taylor mentioned your book opens a window onto female black power, each the reverence for it and what it's wrought. Is that what you had been setting out to do?

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Prof. PARKS: Properly, yes, I was trying to clarify one thing that was happening in my very own life and one thing that I noticed in other women's lives that we were living, but not understanding. So, yes, that is precisely what I used to be making an attempt to do.

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KEYES: Speak to me about who you see as sturdy, black women at this time. Our first lady Michelle Obama, Oprah Winfrey, who else?

Prof. PARKS: Effectively, there are certainly those, but there are lots of ladies in everyday life. And, really, I'm much more involved about them, these girls who develop up with the expectation that they'll take care of everyone, and individuals who count on them to take care of everyone. I'm suggesting that black women already have an organically grown, traditional model of female power that they use to move by the world, however that the expectations which can be placed on them due to that are often exhausting.

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KEYES: Let's listen to a clip of Oprah from the film "The Colour Purple," the place she's taking part in the wonderfully sturdy character Sofia.

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(Soundbite of movie, "The Shade Purple")

Ms. OPRAH WINFREY (Host, Actor): (As Sofia) All my life I needed to fight. Woman, child ain't safe in a household of males, however I ain't by no means thought I needed to struggle in my very own home. I needed to combat my uncles. I needed to combat my brothers. However I am going to kill him lifeless earlier than I let him beat me. I loves Harpo. God is aware of I do. I needed to combat my daddy.

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KEYES: I ponder, Sheri, is it that Oprah or the eternally empathic discuss host Oprah that embodies the robust, black girl or is it both?

Prof. PARKS: Nicely, both. And there's a quote in the e book from Coretta Scott King who says that black girl are strong because they've had to be sturdy. Actually in "The Color Purple," Alice Walker is making an attempt to say one thing about black ladies being created by the circumstances of their lives. And certainly that is there.

However, additionally, I do not assume which you could clarify the sheer power that Oprah has in American life with out referring back to this image. But she's also, I think, realized to look after herself, which is one thing that many black ladies usually are not giving themselves permission to do.

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KEYES: I am fascinated that you just said that, because I remember Octavia Butler's sci-fi novel "Kindred," where she travels back in time and finally ends up having to assist her white slave-owning ancestor and injures herself really badly in the process. How much is that this pleasant savior thought affecting ladies?

Prof. PARKS: Nicely, one of many issues that - I am by no means saying that black women are the one strong women, I am saying that black ladies are the ladies on this tradition who are frequently celebrated for being strong. And i imply soiled in the entire ways in which we will consider that. And so, historically there are conditions where the 2 photos are performed in opposition to each other, certainly throughout slavery, the weak, fragile, white Victorian ideal of a white lady was solely made doable because there have been black women around to do the soiled work.

I additionally say that that picture is something that has maybe been preserved the sturdy lady has been preserved by black ladies, when all girls at some point in their lives have to be sturdy. And it is something that we train in our girls and one thing that we develop up expecting to should do and that other individuals anticipate it of us. Maybe black women have many extra circumstances through which they need to be strong.

KEYES: However hasn't that picture virtually been co-opted by the people that paint black girls as indignant? Is that who we're? They're, like, there's that African-American lady strolling down the street, or more accurately, strutting down the road carrying her sword and shield.

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Prof. PARKS: No, that's not who we're. However, I mean, you used the word co-opted, and I believe what's vital to know is that this role is almost at all times co-opted in a roundabout way. And if you happen to think of the photographs, we frequently see that strong, black woman in the role of the lieutenant, where she's working for the benefit of another person. Definitely in slavery that sturdy, black lady was literally co-opted for the use of the slave master.

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Black girls typically really feel that due to that, that that is a task that we must always run away from. And I'm saying, in case you have a job in a tradition that has such a powerful and historical presence in a tradition, possibly we should always flip round and have a look at it, which is what I'm trying to do in "Fierce Angels," is to have girls have a look at this picture and see for themselves what they wish to do with it.

KEYES: I would like to speak somewhat bit about Hattie McDaniel, the mammy from the film "Gone with the Wind." You are saying that the perception of her is because people don't understand who she is. She's been misunderstood. And instead of being this subservient person, she was truly infusing her roles, and that function particularly with some challenge and pushback.

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(Soundbite of "Gone with the Wind")

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Ms. HATTIE MCDANIEL (Actor): (As Mammy) I have told you and advised you that you would be able to all the time inform a lady by the best way that she eat in entrance of oldsters like a fowl. And that i ain't aiming so that you can go to Mr. John Wilkes's and eat like a area hand and gobble like a hog.

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Ms. VIVIEN LEIGH: (As Scarlett) Fiddle-dee-dee. Ashley Wilkes told me he likes to see a girl with a healthy appetite.

Ms. MCDANIEL: What gentlemen says and what they thinks is two different things. And i ain't observed Mr. Ashley asking for to marry you.

Prof. PARKS: For those who truly go and watch the film, she does an enormous quantity of fussing in the movie. She would say, aren't white individuals silly to assume that these women who work for them love them that a lot? And one of the issues she did was to mock the picture of the mammy. She had a racially uplifting theater career before she went to Hollywood. What Hattie was doing at that second was being subversive. She's a nasty maid.

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And she thought she might carry that picture into Hollywood and of course found that Hollywood wasn't so much fascinated about that. And so we really do misread and that i say that often African-People have given away their foremothers to this image of the mammy. But she continued to attempt to infuse subversiveness into her roles. And if you return and look at what ladies who are taking part in those mammies, ladies who had been truly living the position as mammies, they were usually working very arduous to make use of what power they had for the advantage of their households and their communities.

KEYES: You're listening to inform ME More from NPR Information.

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We're talking about the image of the sturdy, black girl with Professor Sheri Parks. She's writer of "Fierce Angels: A strong Black Lady in American Life and Culture."

Sheri, I wished to talk to you concerning the sacred, darkish feminine this historic archetype that you simply had been speaking about. Really, this picture has been along all the best way again to how many tons of of years?

Prof. PARKS: It is again to the first recorded creation stories where and I am very enthusiastic about the fact that particle physics says essentially the same factor, that earlier than there was the rest, there was darkness. However after all the historic mythology mentioned, after which she gave birth and the world begins. And so this may be very... I discovered cases of the sacred, darkish feminine on every continent.

KEYES: Actually? Because I've seen mother-driven cultures, but I feel I've seen that largely, like, among the Vikings and that form of thing. Was it actually it is Africa, it is in all places?

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Prof. PARKS: It is all over the place. I mean, they are in every single place should you begin in search of them. What you saw is that the Celts actually held onto it overtly longer than any European individuals. There are darkish Madonnas throughout South and Central America. However there are black Madonnas throughout Europe. There are the Native American corn goddesses.

KEYES: It is attention-grabbing again that you say that. We have been speaking earlier concerning the image of the sturdy, black lady being hijacked. If there's all this reverence for this individual, how can that be? And between the campaign to paint the first lady, Michelle Obama, as an offended, black lady, there is a movie referred to as "Diary of a Drained Black Man," I mean, if you happen to read among the media on the market, it looks as if no one values an African-American lady's energy or her heart.

Prof. PARKS: Well, the flipside of reverence can be fear. All folks had to do was attach the label to some pretty non-indignant behavior. Certainly Michelle Obama was painted as an offended, black girl and notice, with little or no proof. And that's why so a lot of the most well-liked photographs are along with her underneath management. But the label alone had a lot forex and concern attached to it. That concept that this sturdy, black girl is going to be out of management is important to understand.

And that concept that the sturdy, black lady out of management turns into this out of control, angry picture is a very dangerous one for black ladies because when people worry someone, they'll strive to harm them. And, two, that if they are not accountable for her, she will get out of control. And I feel many black women have discovered that always they have been harm by individuals who, one, assume that she cannot be harm. That she's too robust to be hurt.

KEYES: Sheri Parks, writer of "Fierce Angels: The Robust Black Lady in American Life and Tradition," joined us from our member station WYPR in Baltimore. Thank you a lot for an attention-grabbing conversation.

Prof. PARKS: Thank you.