You've heard of the first Black to sit in the front of the bus, first Black Boxer, first Black Baseball Player, and first Black Astronaut. What about one of the first Blacks to be sent to the Army's 82nd Airborne, to work as an IBM operator in New York City, or to open an African American Art gallery in Manhattan. It's all the same person: Thomas Joseph DuVall. His autobiography discusses these poignant points of his life along with the challenges of segregation, a Catholic upbringing, family sacrifice, and the Harlem art scene. These are just a few of the themes in his coming-of-age autobiography entitled "Venial Sins." In Catholic doctrine, venial sins are little white lies and minor infringements or violations of the truth. The author shows you how so-called venial, not mortal, sins can devastate the delicate sensibilities of innocent children. These children later become, more often than not, our troubled adults who must now decide whether their sins are mortal or venial. In this autobiography, venial sins permeate the book, starting from his being born and raised in Washington, D.C., from 1934 to 1953; enlisting in the Armed Forces at age 16 and experiencing eye-opening racial experiences in both the military and his own hometown; becoming an Artist portraying his heritage in his Art; becoming a Drummer determined to play his conga drums and Afrocentric music in the 1950s, when it was unpopular to do so; and interweaving the job and other personal experiences of this ordinary man with an extraordinary life. Throughout all of these experiences, the author is able to reflect on them and laugh at all the ridiculous situations in which people can find themselves-in a moment's notice! This passionate storyteller's famous line is: "I know you're not going to believe this..." Not just a life story, "Venial Sins" is a true story of American history. Parts I and II of the autobiography will have readers laughing and crying about the author's childhood and military experiences. Part III describes his moving to New York City and opening the very first African American Art gallery there with the help of another Korean War veteran, Rudy Irvin. The Art gallery, called the Weusi Artist Collective, is still celebrated and recognized today for its impact on African Art in America. The book also describes how he ends up leaving New York City and why. The book ends with the author's uplifting, joyous mural, "Slammin'," which exemplifies the spirit of his life.