This book is also perhaps the most comprehensive and thorough analysis of that increasingly important symbol — the political prisoner. Of her trial, Miss Davis writes, "I am charged with three capital offenses — murder, kidnapping, and conspiracy. My life is at stake in this case — not simply the life of a lone individual, but a life which has been given over to the struggles of my people, a life which belongs to Black people who are tired of poverty, and racism, of the unjust imprisonment of tens of thousands of our brothers and sisters.""I stand before this court," she declares, "as a target of a political frame-up which, far from pointing to my culpability, implicates the State of California as an agent of political repression....I declare publicly before the court, before the people of this country, that I am innocent of all charges which have been leveled against me by the State of California."On the central theme of this book Miss Davis contends that "the offense of the political prisoner in his political boldness, his consistent challenges — legally or extra-legally — of fundamental social wrongs fostered and reinforced by the state. He has opposed unjust laws and exploitative, racist social conditions in general, with the ultimate aim of transforming these laws and the society into an order harmonious with the material and spiritual need and interests of the vast majority of its members."Regarding his own defense, Ruchell Magee, the only prisoner who survived the same revolt and one of the many impressive contributors in this invaluable volume which includes George Jackson, Fleeta Drumgo, John Clutchette, James Baldwin, Bobby Seale and Ericka Huggins, states, "For over seven years I have been forced to stay in slavery on fraudulent pleas of guilty, made by attorneys, court-appointed attorneys, over my objection, over my plea of not guilty, and over my testimony of not guilty."

    The essays in this collection, which include her last writings and span the length of her extraordinary career, reveal Jordan as an incisive analyst of the personal and public costs of remaining committed to the ideal and practice of democracy. Willing to venture into the most painful contradictions of American culture and politics, Jordan comes back with lyrical honesty, wit, and wide-ranging intelligence in these accounts of her reckoning with life as a teacher, poet, activist, and citizen.

      MK Asante was born in Zimbabwe to American parents: a mother who led the new nation’s dance company and a father who would soon become a revered pioneer in black studies. But things fell apart, and a decade later MK was in America, a teenager lost in a fog of drugs, sex, and violence on the streets of North Philadelphia. Now he was alone—his mother in a mental hospital, his father gone, his older brother locked up in a prison on the other side of the country—and forced to find his own way to survive physically, mentally, and spiritually, by any means necessary. Buck is a powerful memoir of how a precocious kid educated himself through the most unconventional teachers—outlaws and eccentrics, rappers and mystic strangers, ghetto philosophers and strippers, and, eventually, an alternative school that transformed his life with a single blank sheet of paper. It’s a one-of-a-kind story about finding your purpose in life, and an inspiring tribute to the power of education, art, and love to heal and redeem us.

     An eye-opening book that tells the important, overlooked story of black women as a force in the suffrage movement--when fellow suffragists did not accept them as equal partners in the struggle.Susan B. Anthony. Elizabeth Cady Stanton. Alice Paul. The Women's Rights Convention at Seneca Falls. The 1913 Women's March in D.C. When the epic story of the suffrage movement in the United States is told, the most familiar leaders, speakers at meetings, and participants in marches written about or pictured are generally white.The real story isn't monochromatic.Women of color, especially African American women, were fighting for their right to vote and to be treated as full, equal citizens of the United States. Their battlefront wasn't just about gender. African American women had to deal with white abolitionist-suffragists who drew the line at sharing power with their black sisters. They had to overcome deep, exclusionary racial prejudices that were rife in the American suffrage movement. And they had to maintain their dignity--and safety--in a society that tried to keep them in its bottom ranks.Lifting as We Climb is the empowering story of African American women who refused to accept all this. Women in black church groups, black female sororities, black women's improvement societies and social clubs. Women who formed their own black suffrage associations when white-dominated national suffrage groups rejected them. Women like Mary Church Terrell, a founder of the National Association of Colored Women and of the NAACP; or educator-activist Anna Jullia Cooper who championed women getting the vote and a college education; or the crusading journalist Ida B. Wells, a leader in both the suffrage and anti-lynching movements.Author Evette Dionne, a feminist culture writer and the editor-in-chief of Bitch Media, has uncovered an extraordinary and underrepresented history of black women. In her powerful book, she draws an important historical line from abolition to suffrage to civil rights to contemporary young activists--filling in the blanks of the American suffrage story.

    Now, she takes on one of today’s hottest cultural topics: feminism. Nugent is a proud feminist—and she’s not afraid to say it. From the “scarlet F” thrust upon you if you declare yourself a feminist at a party to how to handle judgmental store clerks when you buy Plan B, You Don’t Have to Like Me skewers a range of cultural issues, and confirms Nugent as a star on the rise.

    Haunted by the landscape of his youth, Cantú joins the Border Patrol. He and his partners are posted to remote regions crisscrossed by drug routes and smuggling corridors, where they learn to track other humans under blistering sun and through frigid nights. They haul in the dead and deliver to detention those they find alive.Cantú tries not to think where the stories go from there. Plagued by nightmares, he abandons the Patrol for civilian life. But when an immigrant friend travels to Mexico to visit his dying mother and does not return, Cantú discovers that the border has migrated with him, and now he must know the whole story. Searing and unforgettable, The Line Becomes a River makes urgent and personal the violence our border wreaks on both sides of the line.

    In 1919, award-winning poet Eve L. Ewing explores the story of this event—which lasted eight days and resulted in thirty-eight deaths and almost 500 injuries—through poems recounting the stories of everyday people trying to survive and thrive in the city. Ewing uses speculative and Afrofuturist lenses to recast history, and illuminates the thin line between the past and the present.

    Thirty diverse, authors and illustrators engage young people in frank discussions about racism, identity, and self-esteem.THE TALK has the following featured contributors: Selina Alko, Tracey Baptiste, Derrick Barnes, Natacha Bustos, Cozbi A. Cabrera, Raúl Colón, Adam Gidwitz, Nikki Grimes, Rudy Gutierrez, April Harrison, Wade Hudson, Gordon C. James, Minh Lê, E.B. Lewis, Grace Lin, Torrey Maldonado, Meg Medina, Christopher Myers, Daniel Nayeri, Zeke Peña, Peter H. Reynolds, Erin K. Robinson, Traci Sorell, Shadra Strickland, Don Tate, MaryBeth Timothy, Duncan Tonatiuh, Renée Watson, Valerie Wilson Wesley, Sharon Dennis Wyeth.

    She has been dubbed “one of our most important writers,” (Junot Diaz), with “an imagination that most of us would kill for” (Los Angeles Times), and her work has been called “stunning,” (New York Times) “rich in voice, humor, and dazzling imagery” (Kirkus), and “simply triumphant” (Dorothy Allison).Falling in Love with Hominids presents over a dozen years of Hopkinson’s new, uncollected fiction, much of which has been unavailable in print. Her singular, vivid tales, which mix the modern with Afro-Caribbean folklore, are occupied by creatures unpredictable and strange: chickens that breathe fire, adults who eat children, and spirits that haunt shopping malls.

    The poems weave between personal narrative and pop-cultural criticism, examining and confronting modern media, consumption, feminism, and Blackness. This collection explores femininity and race in the contemporary American political climate, folding in references from jazz standards, visual art, personal family history, and Hip Hop. The voice of this book is a multifarious one: writing and rewriting bodies, stories, and histories of the past, as well as uttering and bearing witness to the truth of the present, and actively probing toward a new self, an actualized self. This is a book at the intersections of mythology and sorrow, of vulnerability and posturing, of desire and disgust, of tragedy and excellence.

    In this thought-provoking and moving collection of fourteen essays, gal-dem's writers use raw material from their teenage years – diaries, poems and chat histories – to explore growing up. gal-dem have been described by the Guardian as "the agents of change we need", and these essays tackle important subjects including race, gender, mental health and activism, making this essential reading for any young person.