Their stories show just how varied the search for love can be—from singles' events and college flirtations to arranged marriages, all with a uniquely Muslim twist.These heartfelt tales are filled with passion and hope, loss and longing. One follows the quintessential single woman in the big city as she takes a chance on a Muslim speed-dating event. Another tells of a shy student from a liberal college town who falls in love online and must reveal her secret to her conservative family. A third recounts a Southern girl who surprises herself by agreeing to an arranged marriage, unexpectedly finding the love of her life.These compelling stories of love and romance create an irresistible balance of heart-warming and tantalizing, always revealing and deeply relatable.

    "I am black--and brown, too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell."The storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into a coffee shop and, along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness."Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience").She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably . . . Race is the story of my life, and therefore black is the body of this book."And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love."

    A revised edition of Lee Maracle's visionary book which links teaching of her First Nations heritage with feminism.

    By posing the question, "What does the loss of any one life mean to the rest of the nation?" Lowery examines the cumulative effect of decades of racially biased policing in segregated neighborhoods with failing schools, crumbling infrastructure and too few jobs.Studded with moments of joy, and tragedy, They Can't Kill Us All offers a historically informed look at the standoff between the police and those they are sworn to protect, showing that civil unrest is just one tool of resistance in the broader struggle for justice. As Lowery brings vividly to life, the protests against police killings are also about the black community's long history on the receiving end of perceived and actual acts of injustice and discrimination. They Can't Kill Us All grapples with a persistent if also largely unexamined aspect of the otherwise transformative presidency of Barack Obama: the failure to deliver tangible security and opportunity to those Americans most in need of both. They Can't Kill Us All is a galvanizing book that offers more than just behind-the-scenes coverage of the story of citizen resistance to police brutality. It will also explain where the movement came from, where it is headed and where it still has to go.

    Muslim. Arab American. A proudly Fat woman. Randa Jarrar is all of these things. In this provocative memoir of a cross-country road trip, she explores how to claim joy in an unraveling and hostile America.Randa Jarrar is a fearless voice of dissent who has been called “politically incorrect” (Michelle Goldberg, The New York Times). As an American raised for a time in Egypt, and finding herself captivated by the story of a celebrated Egyptian belly dancer’s journey across the United States in the 1940s, she sets off from her home in California to her parents’ in Connecticut.Coloring this road trip are journeys abroad and recollections of a life lived with daring. Reclaiming her autonomy after a life of survival—domestic assault as a child, and later, as a wife; threats and doxxing after her viral tweet about Barbara Bush—Jarrar offers a bold look at domestic violence, single motherhood, and sexuality through the lens of the punished-yet-triumphant body. On the way, she schools a rest-stop racist, destroys Confederate flags in the desert, and visits the Chicago neighborhood where her immigrant parents first lived.Hailed as “one of the finest writers of her generation” (Laila Lalami), Jarrar delivers a euphoric and critical, funny and profound memoir that will speak to anyone who has felt erased, asserting: I am here. I am joyful.

    When she discovered fencing, a sport traditionally reserved for the wealthy, she had to defy expectations and make a place for herself in a sport she grew to love. From winning state championships to three-time All-America selections at Duke University, Ibtihaj was poised for success, but the fencing community wasn't ready to welcome her with open arms just yet. As the only woman of color and the only religious minority on Team USA's saber fencing squad, Ibtihaj had to chart her own path to success and Olympic glory. Proud is a moving coming-of-age story from one of the nation's most influential athletes and illustrates how she rose above it all.

    Women who are naturally driven and goal-oriented shy away from it. They’re loath to see themselves—or be seen by others—as aggressive or, worst of all, as a bitch. Double Bind could not come at a more urgent time, a necessary collection that explodes this conflict, examining the concept of female ambition from every angle in essays full of insight, wisdom, humor, and rage.Perceptively identifying a paradox at the very heart of feminism, editor Robin Romm has marshaled a stunning constellation of thinkers to examine their relationships with ambition with candor, intimacy, and wit. Roxane Gay discusses how race informs and feeds her ambition. Theresa Rebeck takes on Hollywood and confronts her own unquenchable thirst to overcome its sexism. Francine Prose considers the origins of the stigma; Nadia Manzoor discusses its cultural weight. Women who work in fields long-dominated by men—from butchery to tech to dogsledding—weigh in on what it takes to crack that ever-present glass ceiling, and the sometimes unexpected costs of shattering it. The eternally complex questions of aspiration and identity can be made even more treacherous at the dawn of motherhood; Allison Barrett Carter attempts leaning in at home, while Sarah Ruhl tries to uphold her feminist vision within motherhood’s infinite daily compromises.Taken together, these essays show women from a range of backgrounds and at all stages of their lives and careers grappling with aspiration, failure, achievement, guilt, and, yes, success. Forthright and empowering, Double Bind breaks a long silence, reclaiming "ambition" from the roster of dirty words at last.

      Born in upper-crust black Chicago—her father was for years head of pediatrics at Provident, at the time the nation’s oldest black hospital; her mother was a socialite—Margo Jefferson has spent most of her life among (call them what you will) the colored aristocracy, the colored elite, the blue-vein society. Since the nineteenth century they have stood apart, these inhabitants of Negroland, “a small region of Negro America where residents were sheltered by a certain amount of privilege and plenty.”   Reckoning with the strictures and demands of Negroland at crucial historical moments—the civil rights movement, the dawn of feminism, the fallacy of postracial America—Jefferson brilliantly charts the twists and turns of a life informed by psychological and moral contradictions. Aware as it is of heart-wrenching despair and depression, this book is a triumphant paean to the grace of perseverance.

    He argues this destruction will continue until Americans learn to heal the generational anguish of white supremacy, which is deeply embedded in all our bodies. Our collective agony doesn't just affect African Americans. White Americans suffer their own secondary trauma as well. So do blue Americans—our police.My Grandmother's Hands is a call to action for all of us to recognize that racism is not about the head, but about the body, and introduces an alternative view of what we can do to grow beyond our entrenched racialized divide.This book paves the way for a new, body-centered understanding of white supremacy—how it is literally in our blood and our nervous system. It offers a step-by-step solution—a healing process—in addition to incisive social commentary.Resmaa Menakem, MSW, LICSW, is a therapist with decades of experience currently in private practice in Minneapolis, MN, specializing in trauma, body-centered psychotherapy, and violence prevention. He has appeared on the Oprah Winfrey Show and Dr. Phil as an expert on conflict and violence. Menakem has studied with bestselling authors Dr. David Schnarch (Passionate Marriage) and Dr. Bessel van der Kolk (The Body Keeps the Score). He also trained at Peter Levine's Somatic Experiencing Trauma Institute.

    Moore was fourteen years old, three boys from his neighborhood tried to set him on fire as he was walking home from school. Darnell was tall and awkward and constantly bullied for being gay. That afternoon, one of the boys doused him with gasoline and tried lighting a match. It was too windy, and luckily Darnell's aunt arrived in time to grab Darnell and pull him to safety. It was not the last time he would face death.What happens to the black boys who come of age in neglected, poor, heavily policed, and economically desperate cities that the War on Drugs and mass incarceration have created? How do they learn to live, love, and grow up?Darnell was raised in Camden, NJ, the son of two teenagers on welfare struggling to make ends meet. He explored his sexuality during the height of the AIDS epidemic, when being gay was a death sentence. He was beaten down and ignored by white and black America, by his school, and even his church, the supposed place of sanctuary. He made it out, but as he quickly learned, escaping Camden, escaping poverty, and coming out do not guarantee you freedom.It wasn't until Darnell was pushed into the spotlight at a Newark rally after the murder of a young queer woman that he found his voice and his calling. He became a leading organizer with Black Lives Matter, a movement that recognized him and insisted that his life mattered.In recovering the beauty, joy, and love in his own life, Darnell gives voice to the rich, varied experiences of all those who survive on the edges of the margins. In the process, he offers a path toward liberation.

    His impassioned essays on life in Harlem, the protest novel, movies, and African Americans abroad are as powerful today as when they were first written.--back cover

    When William Evans and Omar Holmon founded Black Nerd Problems, they had no idea whether anyone beyond their small circle of friends would be interested in their little corner of the internet. But soon after launching, they were surprised to find out that there was a wide community of people who hungered for fresh perspectives on all things nerdy. In the years since, Evans and Holmon have built a large, dedicated fanbase eager for their brand of cultural critiques, whether in the form of a laugh-out-loud, raucous Game of Thrones episode recap or an eloquent essay on dealing with grief through stand-up comedy. Now, they are ready to take the next step with this vibrant and hilarious essay collection, which covers everything from X-Men to Breonna Taylor with “alternately hilarious, thought-provoking, and passionate” (School Library Journal) insight and intelligence. A much needed and fresh pop culture critique from the perspective of people of color, “this hugely entertaining, eminently thoughtful collection is a master class in how powerful—and fun—cultural criticism can be” (Publishers Weekly, starred review).

    But today, if you'll bear with me, I would like to try to tell it to you myself. I have reason to believe the experts may be wrong about me. You see, today, thirty years later, I am neither in prison nor dead.--Ian Manuel The United States is the only country in the world that sentences thirteen- and fourteen-year-old offenders, mostly youth of color, to life in prison without parole, regardless of the scientifically proven singularities of the developing adolescent brain--a heinous wrinkle in the scandal of mass incarceration. In 1991, Ian Manuel, then fourteen was sentenced to life without parole for a non-homicide crime. In a botched mugging attempt with some older boys, he shot Debbie Baigrie, a young white mother of two, in the face. But as Bryan Stevenson has insisted, none of us should be judged by only the worst thing we have ever done.Here, capturing the fullness of his humanity, is Ian Manuel's powerful testimony of growing up homeless in Central Park Village in Tampa, Florida, a neighborhood riddled with poverty, gang violence, and drug abuse--and of his efforts to rise above his circumstances, only to find himself, partly through his own actions, imprisoned for two-thirds of his life, eighteen years of which were spent in solitary confinement. Here is the at once wrenching and inspiring story of how he endured the savagery of the US prison system and of how his victim, an extraordinary woman, forgave him and bravely advocated for his freedom, achieved by a crusade on the part of the Equal Justice Initiative to address a barbarism of our judicial system, and to bring about just mercy.Full of unexpected twists and turns as it describes a struggle to attain the glory of redemption, My Time Will Come is a paean to the capacity of the human will to transcend adversity through determination and art (in Ian Manuel's case, his dedication to writing poetry).

    We know, for example, that there are a few core truths to science of happiness. We know that being kind and altruistic makes us happy, that turning off devices, talking to people, forging relationships, living with meaning and delving into the concerns of others offer our best chance at achieving happiness. But how do we retain happiness? It often slips out of our hands as quickly as we find it. So, when we are exposed to, or learn, good things, how do we continue to burn with them?And more than that, when our world goes dark, when we're overwhelmed by illness or heartbreak, loss or pain, how do we survive, stay alive or even bloom? In the muck and grit of a daily existence full of disappointments and a disturbing lack of control over many of the things that matter most - finite relationships, fragile health, fraying economies, a planet in peril - how do we find, nurture and carry our own inner, living light - a light to ward off the darkness?Absorbing, achingly beautiful, inspiring and deeply moving, Julia Baird has written exactly the book we need for these times.

    Mom Genes reveals the hard science behind our tenderest maternal impulses, tackling questions such as whether a new mom’s brain ever really bounces back, why mothers are destined to mimic their own moms (or not), and how maternal aggression makes females the world’s most formidable creatures. Part scientific odyssey, part memoir, Mom Genes weaves the latest research with Abigail Tucker’s personal experiences to create a portrait of motherhood.