But Cooper shows us that there is more to the story than that. Black women’s eloquent rage is what makes Serena Williams such a powerful tennis player. It’s what makes Beyoncé’s girl power anthems resonate so hard. It’s what makes Michelle Obama an icon.Eloquent rage keeps us all honest and accountable. It reminds women that they don’t have to settle for less. When Cooper learned of her grandmother's eloquent rage about love, sex, and marriage in an epic and hilarious front-porch confrontation, her life was changed. And it took another intervention, this time staged by one of her homegirls, to turn Brittney into the fierce feminist she is today. In Brittney Cooper’s world, neither mean girls nor fuckboys ever win. But homegirls emerge as heroes. This book argues that ultimately feminism, friendship, and faith in one's own superpowers are all we really need to turn things right side up again.

    In this timely anthology, "well-read black girl" Glory Edim brings together original essays by some of our best black female writers and creative voices to shine a light on how we search for ourselves in literature, and how important it is that everyone--no matter their gender, race, religion, or abilities--can find themselves there. Whether it's learning about the complexities of femalehood from Their Eyes Were Watching God, seeing a new type of love in The Color Purple, or using mythology to craft an alternative black future, each essay reminds us why we turn to books in times of both struggle and relaxation. As she has done with her incredible book-club-turned-online-community Well-Read Black Girl, in this book, Edim has created a space where black women's writing and knowledge and life experiences are lifted up, to be shared with all readers who value the power of a story to help us understand the world, and ourselves.Contributors include: Jesmyn Ward (Sing Unburied Sing), Lynn Nottage (Sweat), Jacqueline Woodson (Another Brooklyn), Gabourey Sidibe (This Is Just My Face), Morgan Jerkins (This Will Be My Undoing), Zinzi Clemmons (What We Lose), N. K. Jemisin (The Fifth Season), Tayari Jones (An American Marriage), Nicole Dennis-Benn (Here Comes the Sun), Rebecca Walker (Black, White and Jewish), and more.

    In this powerful new work, theologian James H. Cone explores these symbols and their interconnection in the history and souls of black folk. Both the cross and the lynching tree represent the worst in human beings and at the same time a thirst for life that refuses to let the worst determine our final meaning. While the lynching tree symbolized white power and black death, the cross symbolizes divine power and black life, God overcoming the power of sin and death. For African Americans, the image of Jesus, hung on a tree to die, powerfully grounded their faith that God was with them, even in the suffering of the lynching era.In a work that spans social history, theology, and cultural studies, Cone explores the message of the spirituals and the power of the blues; the passion and the engaged vision of Martin Luther King, Jr.; he invokes the spirits of Billie Holiday and Langston Hughes, Fannie Lou Hamer and Ida B. Wells, and the witness of black artists, writers, preachers, and fighters for justice. And he remembers the victims, especially the 5,000 who perished during the lynching period. Through their witness he contemplates the greatest challenge of any Christian theology to explain how life can be made meaningful in the face of death and injustice.

    citizen, using it as a starting point for her exploration of the rights, liberties, and protections that are traditionally associated with American citizenship. Tapping into history, politics, and literature, she elucidates how accidents of birth--such as national origin, race, and gender--that once determined the boundaries of Americanness still their shadows today.

    "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."

    This book is about not settling for less—in life, as a parent, and as a rock star—but doing everything with soul purpose. Readers will come away entertained and inspired, ready to surprise the world with their desire to do great things for God.

    A gifted grassroots organizer, Baker shunned the spotlight in favor of vital behind-the-scenes work that helped power the black freedom struggle. She was a national officer and key figure in the National Association for the Advancement of Colored People, one of the founders of the Southern Christian Leadership Conference, and a prime mover in the creation of the Student Nonviolent Coordinating Committee. Baker made a place for herself in predominantly male political circles that included W. E. B. Du Bois, Thurgood Marshall, and Martin Luther King Jr., all the while maintaining relationships with a vibrant group of women, students, and activists both black and white.In this deeply researched biography, Barbara Ransby chronicles Baker's long and rich political career as an organizer, an intellectual, and a teacher, from her early experiences in depression-era Harlem to the civil rights movement of the 1950s and 1960s. Ransby shows Baker to be a complex figure whose radical, democratic worldview, commitment to empowering the black poor, and emphasis on group-centered, grassroots leadership set her apart from most of her political contemporaries. Beyond documenting an extraordinary life, the book paints a vivid picture of the African American fight for justice and its intersections with other progressive struggles worldwide across the twentieth century.

    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.

    But the journey of the “Little Rock Nine,” as they came to be known, would lead the nation on an even longer and much more turbulent path, one that would challenge prevailing attitudes, break down barriers, and forever change the landscape of America.Descended from a line of proud black landowners and businessmen, Carlotta was raised to believe that education was the key to success. She embraced learning and excelled in her studies at the black schools she attended throughout the 1950s. With Brown v. Board of Education erasing the color divide in classrooms across the country, the teenager volunteered to be among the first black students–of whom she was the youngest–to integrate nearby Central High School, considered one of the nation’s best academic institutions.But for Carlotta and her eight comrades, simply getting through the door was the first of many trials. Angry mobs of white students and their parents hurled taunts, insults, and threats. Arkansas’s governor used the National Guard to bar the black students from entering the school. Finally, President Dwight D. Eisenhower was forced to send in the 101st Airborne to establish order and escort the Nine into the building. That was just the start of a heartbreaking three-year journey for Carlotta, who would see her home bombed, a crime for which her own father was a suspect and for which a friend of Carlotta’s was ultimately jailed–albeit wrongly, in Carlotta’s eyes. But she persevered to the victorious end: her graduation from Central.Breaking her silence at last and sharing her story for the first time, Carlotta Walls has written an inspiring, thoroughly engrossing memoir that is not only a testament to the power of one to make a difference but also of the sacrifices made by families and communities that found themselves a part of history. Complete with compelling photographs of the time, A Mighty Long Way shines a light on this watershed moment in civil rights history and shows that determination, fortitude, and the ability to change the world are not exclusive to a few special people but are inherent within us all.

    Board of Education.Throughout her harrowing ordeal, Melba was taunted by her schoolmates and their parents, threatened by a lynch mob’s rope, attacked with lighted sticks of dynamite, and injured by acid sprayed in her eyes. But through it all, she acted with dignity and courage, and refused to back down.

    Formerly incarcerated, he is now a black preacher in the whitest denomination in the United States: the Evangelical Lutheran Church in America (ELCA). Shifting demographics and shrinking congregations make all the headlines, but Duncan sees something else at work--drawing a direct line between the church's lack of diversity and the church's lack of vitality. The problems the ELCA faces are theological, not sociological. But so are the answers.Part manifesto, part confession, and all love letter, Dear Church offers a bold new vision for the future of Duncan's denomination and the broader mainline Christian community of faith. Dear Church rejects the narrative of church decline and calls everyone--leaders and laity alike--to the front lines of the church's renewal through racial equality and justice.It is time for the church to rise up, dust itself off, and take on forces of this world that act against God: whiteness, misogyny, nationalism, homophobia, and economic injustice. Duncan gives a blueprint for the way forward and urges us to follow in the revolutionary path of Jesus.

    But she increasingly felt she could no longer trust in the God she’d been implicitly taught to worship—a white male God who preferentially empowered white men despite his claim to love all people. A God who clearly did not relate to, advocate for, or affirm a Black woman like Christena. Her crisis of faith sent her on an intellectual and spiritual journey through history and across France, on a 400-mile walking pilgrimage to the ancient shrines of Black Madonnas to find healing in the Sacred Black Feminine. God Is a Black Woman is the chronicle of her liberating transformation and a critique of a society shaped by white patriarchal Christianity and culture. Christena reveals how America’s collective idea of God as a white man has perpetuated hurt, hopelessness, and racial and gender oppression. Integrating her powerful personal story, womanist ideology, as well as theological, historical, and social science research, she invites us to take seriously the truth that God is not white nor male and gives us a new and hopeful path for connecting with the divine and honoring the sacredness of all Black people.

    In these professional settings, my personal experiences with hunger, poverty, and episodic homelessness, often go undetected. I had worked hard to learn the rules and disguise my beginning in life...So begins Born Bright, C. Nicole Mason's powerful memoir, a story of reconciliation, constrained choices and life on the other side of the tracks. Born in the 1970s in Los Angeles, California, Mason was raised by a beautiful, but volatile16-year-old single mother. Early on, she learned to navigate between an unpredictable home life and school where she excelled.By high school, Mason was seamlessly straddling two worlds. The first, a cocoon of familiarity where street smarts, toughness and the ability to survive won the day. The other, foreign and unfamiliar with its own set of rules, not designed for her success. In her Advanced Placement classes and outside of her neighborhood, she felt unwelcomed and judged because of the way she talked, dressed and wore her hair.After moving to Las Vegas to live with her paternal grandmother, she worked nights at a food court in one of the Mega Casinos while finishing school. Having figured out the college application process by eavesdropping on the few white kids in her predominantly Black and Latino school along with the help of a long ago high school counselor, Mason eventually boarded a plane for Howard University, alone and with $200 in her pocket.While showing us her own path out of poverty, Mason examines the conditions that make it nearly impossible to escape and exposes the presumption harbored by many—that the poor don't help themselves enough.

    . . . In our current politics we recognize African-American history--the spot under our country's rug where the terrorism and injustices of white supremacy are habitually swept. Stony the Road lifts the rug. --Nell Irvin Painter, New York Times Book Review A profound new rendering of the struggle by African-Americans for equality after the Civil War and the violent counter-revolution that resubjugated them, as seen through the prism of the war of images and ideas that have left an enduring racist stain on the American mind.The abolition of slavery in the aftermath of the Civil War is a familiar story, as is the civil rights revolution that transformed the nation after World War II. But the century in between remains a mystery: if emancipation sparked a new birth of freedom in Lincoln's America, why was it necessary to march in Martin Luther King, Jr.'s America? In this new book, Henry Louis Gates, Jr., one of our leading chroniclers of the African-American experience, seeks to answer that question in a history that moves from the Reconstruction Era to the nadir of the African-American experience under Jim Crow, through to World War I and the Harlem Renaissance.Through his close reading of the visual culture of this tragic era, Gates reveals the many faces of Jim Crow and how, together, they reinforced a stark color line between white and black Americans. Bringing a lifetime of wisdom to bear as a scholar, filmmaker, and public intellectual, Gates uncovers the roots of structural racism in our own time, while showing how African Americans after slavery combatted it by articulating a vision of a New Negro to force the nation to recognize their humanity and unique contributions to America as it hurtled toward the modern age.The story Gates tells begins with great hope, with the Emancipation Proclamation, Union victory, and the liberation of nearly 4 million enslaved African-Americans. Until 1877, the federal government, goaded by the activism of Frederick Douglass and many others, tried at various turns to sustain their new rights. But the terror unleashed by white paramilitary groups in the former Confederacy, combined with deteriorating economic conditions and a loss of Northern will, restored home rule to the South. The retreat from Reconstruction was followed by one of the most violent periods in our history, with thousands of black people murdered or lynched and many more afflicted by the degrading impositions of Jim Crow segregation.An essential tour through one of America's fundamental historical tragedies, Stony the Road is also a story of heroic resistance, as figures such as W. E. B. Du Bois and Ida B. Wells fought to create a counter-narrative, and culture, inside the lion's mouth. As sobering as this tale is, it also has within it the inspiration that comes with encountering the hopes our ancestors advanced against the longest odds.

    In his 2016 New York Times op-ed piece "Death in Black and White," Michael Eric Dyson moved a nation. Now he continues to speak out in Tears We Cannot Stop―a provocative and deeply personal call for change. Dyson argues that if we are to make real racial progress we must face difficult truths, including being honest about how black grievance has been ignored, dismissed, or discounted.The time is at hand for reckoning with the past, recognizing the truth of the present, and moving together to redeem the nation for our future. If we don't act now, if you don't address race immediately, there very well may be no future.