For Patrisse, the most vulnerable people in the country are Black people. Deliberately and ruthlessly targeted by a criminal justice system serving a white privilege agenda, Black people are subjected to unjustifiable racial profiling and police brutality. In 2013, when Trayvon Martin’s killer went free, Patrisse’s outrage led her to co-found Black Lives Matter with Alicia Garza and Opal Tometi.Condemned as terrorists and as a threat to America, these loving women founded a hashtag that birthed the movement to demand accountability from the authorities who continually turn a blind eye to the injustices inflicted upon people of Black and Brown skin. Championing human rights in the face of violent racism, Patrisse is a survivor. She transformed her personal pain into political power, giving voice to a people suffering in equality and a movement fueled by her strength and love to tell the country—and the world—that Black Lives Matter.When They Call You a Terrorist is Patrisse Khan-Cullors and asha bandele’s reflection on humanity. It is an empowering account of survival, strength and resilience and a call to action to change the culture that declares innocent Black life expendable.

    Not only did he smuggle his pieces into four of New York City's major art museums, he's also "hung" his work at London's Tate Gallery and adorned Israel's West Bank barrier with satirical images. Banksy's identity remains unknown, but his work is unmistakable with prints selling for as much as $45,000.

    The film, Dear White People, garnered a Sundance Award for Breakthrough Talent and has been hailed by critics everywhere. Channeling the sensibility of the film into this book, Simien will keep you laughing with his humorous observations, even if you haven't seen the satiric film.News Flash: the minimum number of black friends needed to not seem racist has just been raised to two. Rather than panic, readers are advised to purchase a copy of Dear White People. Whether you are a white person wondering why your black office mate is avoiding eye contact with you after you ran your fingers through her hair or you're a black nerd who has to break it to your white friends that you've never seen The Wire, this myth-busting, stereotype-diffusing guide to a post-Obama world has something for you!With decision-making trees to help you decide when it's the right time to wear Blackface (hint: probably never) and quizzes to determine whether you've become the Token Black Friend, Dear White People is the ultimate silly-yet-authoritative handbook to help the curious and confused navigate racial microaggressions in their daily lives. Based on the eponymous award-winning film, which has been lauded as a smart, hilarious satire, this tongue-in-cheek guide is a must-have that anybody who is in semi-regular contact with black people can't afford to miss!

    She is also haltingly, fitfully giving heat and air to the art that simmers inside her. And then she meets Eric, a digital archivist with a family in New Jersey, including an autopsist wife who has agreed to an open marriage — with rules.As if navigating the constantly shifting landscapes of contemporary sexual manners and racial politics weren’t hard enough, Edie finds herself unemployed and invited into Eric’s home — though not by Eric. She becomes a hesitant ally to his wife and a de facto role model to his adopted daughter. Edie may be the only Black woman young Akila knows.Irresistibly unruly and strikingly beautiful, razor-sharp and slyly comic, sexually charged and utterly absorbing, Raven Leilani’s Luster is a portrait of a young woman trying to make sense of her life — her hunger, her anger — in a tumultuous era. It is also a haunting, aching description of how hard it is to believe in your own talent, and the unexpected influences that bring us into ourselves along the way.

    As First Lady of the United States of America—the first African American to serve in that role—she helped create the most welcoming and inclusive White House in history, while also establishing herself as a powerful advocate for women and girls in the U.S. and around the world, dramatically changing the ways that families pursue healthier and more active lives, and standing with her husband as he led America through some of its most harrowing moments. Along the way, she showed us a few dance moves, crushed Carpool Karaoke, and raised two down-to-earth daughters under an unforgiving media glare. In her memoir, a work of deep reflection and mesmerizing storytelling, Michelle Obama invites readers into her world, chronicling the experiences that have shaped her—from her childhood on the South Side of Chicago to her years as an executive balancing the demands of motherhood and work, to her time spent at the world’s most famous address. With unerring honesty and lively wit, she describes her triumphs and her disappointments, both public and private, telling her full story as she has lived it—in her own words and on her own terms. Warm, wise, and revelatory, Becoming is the deeply personal reckoning of a woman of soul and substance who has steadily defied expectations—and whose story inspires us to do the same.

    Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Anzaldua is a rebellious and willful talent who recognizes that life on the border, "life in the shadows," is vital territory for both literature and civilization. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues.

    So says the Marquis de Sade, philosopher and pornographer. His virtuous Justine, who keeps to the rules, is rewarded with rape and humiliation; his Juliette, Justine's triumphantly monstrous antithesis, viciously exploits her sexuality.With brilliance and wit, Angela Carter takes on these outrageous figments of de Sade's extreme imagination and transforms them into symbols of our time: The Hollywood sex goddesses, mothers and daughters, pornography, even the sacred shrines of sex and marriage lie devastatingly exposed before our eyes.Author Bio: Angela Carter (1940-1992) was best known for her subversive short stories, including her most famous collection, The Bloody Chamber. Carter translated the fairy tales of Charles Perrault, and wrote the screenplay for Neil Jordan's 1984 film, The Company of Wolves, based on her short story.

    Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave-owning women were sophisticated economic actors who directly engaged in and benefited from the South’s slave market. Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth. Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave-owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment. By examining the economically entangled lives of enslaved people and slave-owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America.

    ARTnews hailed this lively volume as "a fascinating book" by "a superb critic and art historian". For this Second Edition, the author adds a new final chapter and extensively reworks the last quarter of the hook to incorporate current thinking on the art of the last 20 years.

    From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders.An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.

    These topics are all timely yet timeless in that they represent the continuing struggle to include African Americans in mainstream American political, economic & social life without destroying their unique culture. The essays have the feel of a fine sermon, with thought-provoking ideas & new ways of looking at the same old problems. They can be quickly read yet take a long time to digest because of West's unique slant on life. Already well known in scholarly circles, he's increasingly becoming more visible to the general public. This book should make his essays more accessible to a greater number of people.--Library JournalPrefaceIntroduction: Race mattersNihilism in Black America The pitfalls of racial reasoningThe crisis of Black leadership Demystifying the new Black conservatismBeyond affirmative action: equality and identityOn Black-Jewish relations Black sexuality: the taboo subjectMalcolm X and Black rage Epilogue to the Vintage edition

    Glaude Jr., in a moment when the struggles of Black Lives Matter and the attempt to achieve a new America have been challenged by the election of Donald Trump, a president whose victory represents yet another failure of America to face the lies it tells itself about race. From Charlottesville to the policies of child separation at the border, his administration turned its back on the promise of Obama's presidency and refused to embrace a vision of the country shorn of the insidious belief that white people matter more than others.We have been here before: For James Baldwin, these after times came in the wake of the civil rights movement, when a similar attempt to compel a national confrontation with the truth was answered with the murders of Medgar Evers, Malcolm X, and Martin Luther King, Jr. In these years, spanning from the publication of The Fire Next Time in 1963 to that of No Name in the Street in 1972, Baldwin transformed into a more overtly political writer, a change that came at great professional and personal cost. But from that journey, Baldwin emerged with a sense of renewed purpose about the necessity of pushing forward in the face of disillusionment and despair.In the story of Baldwin's crucible, Glaude suggests, we can find hope and guidance through our own after times, this Trumpian era of shattered promises and white retrenchment. Mixing biography--drawn partially from newly uncovered interviews--with history, memoir, and trenchant analysis of our current moment, Begin Again is Glaude's endeavor, following Baldwin, to bear witness to the difficult truth of race in America today. It is at once a searing exploration that lays bare the tangled web of race, trauma, and memory, and a powerful interrogation of what we all must ask of ourselves in order to call forth a new America.

    In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium.

    In this intimate and revealing memoir, Stein tells us much about the great man (and herself) and offers many insights into the life and art of the 20th century's greatest painter.Mixing biological fact with artistic and aesthetic comments, she limns a unique portrait of Picasso as a founder of Cubism, an intimate of Appollinaire, Max Jacob, Braque, Derain, and others, and a genius driven by a ceaseless quest to convey his vision of the 20th century. We learn, for example, of the importance of his native Spain in shaping Picasso's approach to art; of the influence of calligraphy and African sculpture; of his profound struggle to remain true to his own vision; of the overriding need to empty himself of the forms and ideas that welled up within him.Stein's close relationship with Picasso furnishes her with a unique vantage point in composing this perceptive and provocative reminiscence. It will delight any admirer of Picasso or Gertrude Stein; it is indispensable to an understanding of modern art.

    They were a little shy. But once they got going, you couldn't stop them. Women secretly love to talk about their vaginas. They get very excited, mainly because no one's ever asked them before.