Terrorism. Hate crimes. In a world where racism is far from dead, is unity amidst diversities even remotely possible?Sharing from his own experiences growing up in the segregated South, pastor John Piper thoughtfully exposes the unremitting problem of racism. Instead of turning finally to organizations, education, famous personalities, or government programs to address racial strife, Piper reveals the definitive source of hope--teaching how the good news about Jesus Christ actively undermines the sins that feed racial strife, and leads to a many-colored and many-cultured kingdom of God.Learn to pursue ethnic harmony from a biblical perspective, and to relate to real people different from yourself, as you take part in the bloodline of Jesus that is comprised of "every tongue, tribe, and nation."

    This significant book gives a thorough account of the effects of evolution on the history of the United States, including slavery and the Civil rights movement, and goes beyond to show the global harvest of death and tragedy that still finds its roots in Darwin’s destructive writings.The tragic legacy of Darwin’s controversial speculations on evolution has led to terrible consequences taken to the deadliest extremes. One Race One Blood reveals the origins of these horrors, as well as the truth revealed in Scripture that God created only one race.You will discover:• Nazi Germany used evolutionary concepts to justify the extermination of “unfit” people groups such as Jews, Gypsies, and Slavs• The origins of people groups, the genetics of skin color, and the biblical truths on “interracial” marriage• Eye-opening discussion on racism and its roots in the hearts and minds of millions still today.Within these compelling pages, Dr. A. Charles Ware, president of Crossroads Bible College, and Ken Ham, president of Answers in Genesis examine the historical roots of racism that have permeated evolutionary thought, and the Bible’s response to this disturbing issue. This is a crucial and timely study that profoundly addresses the Christian worldview regarding “race” from a compassionate and uniquely compelling perspective.

    Designed to demonstrate the artists' abilities and to promote racial equality, the exhibition also revealed the art world's anxieties about the participation of African Americans in the exclusive venue of art museums—places where blacks had historically been barred from visiting let alone exhibiting. Since then, America's major art museums have served as crucial locations for African Americans to protest against their exclusion and attest to their contributions in the visual arts.In Exhibiting Blackness, art historian Bridget R. Cooks analyzes the curatorial strategies, challenges, and critical receptions of the most significant museum exhibitions of African American art. Tracing two dominant methodologies used to exhibit art by African Americans—an ethnographic approach that focuses more on artists than their art, and a recovery narrative aimed at correcting past omissions—Cooks exposes the issues involved in exhibiting cultural difference that continue to challenge art history, historiography, and American museum exhibition practices. By further examining the unequal and often contested relationship between African American artists, curators, and visitors, she provides insight into the complex role of art museums and their accountability to the cultures they represent.

    Martin A. Berger’s provocative and groundbreaking study shows how the very pictures credited with arousing white sympathy, and thereby paving the way for civil rights legislation, actually limited the scope of racial reform in the 1960s. Berger analyzes many of these famous images—dogs and fire hoses turned against peaceful black marchers in Birmingham, tear gas and clubs wielded against voting-rights marchers in Selma—and argues that because white sympathy was dependent on photographs of powerless blacks, these unforgettable pictures undermined efforts to enact—or even imagine—reforms that threatened to upend the racial balance of power.

    Through close readings of Frederick Douglass, William Wells Brown, Frances Ellen Watkins Harper, and Walt Whitman(on aurality), and Herman Melville, William J. Wilson, and a host of genre painters (on visuality), the book reveals how the difficult tasks of representing African Americans-both enslaved and free-in imaginative expression was part of a larger dilemma concerning representative democracy itself.

    Cleverly weaving together a range of themes connected with borderssuch as migration, postcolonialism, living in exile, and the immigrant experienceRuiz's "readings," from the perspective of a Puerto Rican in New York, bring biblical texts into conversation with well known Hispanic theologians and biblical scholars.

    to the vibrant world of African American thought. As an author, editor, and patron, Locke rightly earned the appellation Godfather of the Harlem Renaissance. Yet, his intellectual contributionsextend far beyond that single period of cultural history. Throughout his life he penned essays, on topics ranging from John Keats to Sigmund Freud, in addition to his trenchant social commentary on race and society.The Works of Alain Locke provides the largest collection available of his brilliant essays, gathered from a career that spanned forty years. They cover an impressively broad field of subjects: philosophy, literature, the visual arts, music, the theory of value, race, politics, and multiculturalism.Alongside seminal works such as The New Negro the volume features essays like The Ethics of Culture, Apropos of Africa, and Pluralism and Intellectual Democracy. Together, these writings demonstrate Locke's standing as the leading African American thinker between W. E. B. Du Bois and MartinLuther King, Jr.The foreword by Henry Louis Gates Jr. and the introduction by