But in practice, it is prosecutors who have the upper hand, in a contest that is far from equal. More than anyone else, prosecutors decide who goes free and who goes to prison, and even who lives and who dies. The system wasn't designed for this kind of unchecked power, and in Charged, Emily Bazelon shows that it is an underreported cause of enormous injustice—and the missing piece in the mass incarceration puzzle.But that's only half the story. Prosecution in America is at a crossroads. The power of prosecutors makes them the actors in the system—the only actors—who can fix what's broken without changing a single law. They can end mass incarceration, protect against coercive plea bargains and convicting the innocent, and tackle racial bias. And because in almost every state we, the people, elect prosecutors, it is within our power to reshape the choices they make. In the last few years, for the first time in American history, a wave of reform-minded prosecutors has taken office in major cities throughout the country. Bazelon follows them, showing the difference they make for people caught in the system and how they are coming together as a new kind of lobby for justice and mercy.In Charged, Emily Bazelon mounts a major critique of the American criminal justice system—and also offers a way out.

    As Jones reveals, some of the best-loved devices of our shared social media language are a result of Black women's innovations, from well-known movement-building hashtags (#BlackLivesMatter, #SayHerName, and #BlackGirlMagic) to the now ubiquitous use of threaded tweets as a marketing and storytelling tool. For some, these online dialogues provide an introduction to the work of Black feminist icons like Angela Davis, Barbara Smith, bell hooks, and the women of the Combahee River Collective. For others, this discourse provides a platform for continuing their feminist activism and scholarship in a new, interactive way.Complex conversations around race, class, and gender that have been happening behind the closed doors of academia for decades are now becoming part of the wider cultural vernacular--one pithy tweet at a time. With these important online conversations, not only are Black women influencing popular culture and creating sociopolitical movements; they are also galvanizing a new generation to learn and engage in Black feminist thought and theory, and inspiring change in communities around them.Hard-hitting, intelligent, incisive, yet bursting with humor and pop-culture savvy, Reclaiming Our Space is a survey of Black feminism's past, present, and future, and it explains why intersectional movement building will save us all.

    Racism is truly our nation's original sin."It's time we right this unacceptable wrong," says bestselling author and leading Christian activist Jim Wallis. Fifty years ago, Wallis was driven away from his faith by a white church that considered dealing with racism to be taboo. His participation in the civil rights movement brought him back when he discovered a faith that commands racial justice. Yet as recent tragedies confirm, we continue to suffer from the legacy of racism. The old patterns of white privilege are colliding with the changing demographics of a diverse nation. The church has been slow to respond, and Sunday morning is still the most segregated hour of the week.In America's Original Sin, Wallis offers a prophetic and deeply personal call to action in overcoming the racism so ingrained in American society. He speaks candidly to Christians--particularly white Christians--urging them to cross a new bridge toward racial justice and healing.Whenever divided cultures and gridlocked power structures fail to end systemic sin, faith communities can help lead the way to grassroots change. Probing yet positive, biblically rooted yet highly practical, this book shows people of faith how they can work together to overcome the embedded racism in America, galvanizing a movement to cross the bridge to a multiracial church and a new America.

    Steele’s conclusions shed new light on a host of American social phenomena, from the racial and gender gaps in standardized test scores to the belief in the superior athletic prowess of black men. Steele explicates the dilemmas that arise in every American’s life around issues of identity, from the white student whose grades drop steadily in his African American Studies class to the female engineering students deciding whether or not to attend predominantly male professional conferences. Whistling Vivaldi offers insight into how we form our senses of identity and ultimately lays out a plan for mitigating the negative effects of “stereotype threat” and reshaping American identities.

    While some deaths make headlines, most are personal tragedies suffered within families and communities. Worse, these killings are done one person at a time, so as not to raise alarm. While it is much more difficult to justify killing many people at once, in dramatic fashion, the result is the same—genocide.Taking on such high-profile cases as Trayvon Martin, Michael Brown, and a host of others, Crump witnessed the disparities within the American legal system firsthand and learned it is dangerous to be a black man in America—and that the justice system indeed only protects wealthy white men.In this enlightening and enthralling work, he shows that there is a persistent, prevailing, and destructive mindset regarding colored people that is rooted in our history as a slaveowning nation. This biased attitude has given rise to mass incarceration, voter disenfranchisement, unequal educational opportunities, disparate health care practices, job and housing discrimination, police brutality, and an unequal justice system. And all mask the silent and ongoing systematic killing of people of color.Open Season is more than Crump’s incredible mission to preserve justice, it is a call to action for Americans to begin living up to the promise to protect the rights of its citizens equally and without question.

    Dealing with these losses, one after another, made Jesmyn ask the question: why? And as she began to write about the experience of living through all the dying, she realized the truth--and it took her breath away. Her brother and her friends all died because of who they were and where they were from, because they lived with a history of racism and economic struggle that fostered drug addiction and the dissolution of family and relationships. Jesmyn says the answer was so obvious she felt stupid for not seeing it. But it nagged at her until she knew she had to write about her community, to write their stories and her own. Jesmyn grew up in poverty in rural Mississippi. She writes powerfully about the pressures this brings, on the men who can do no right and the women who stand in for family in a society where the men are often absent. She bravely tells her story, revisiting the agonizing losses of her only brother and her friends. As the sole member of her family to leave home and pursue high education, she writes about this parallel American universe with the objectivity distance provides and the intimacy of utter familiarity.

    People are waking up to the seedy history of the world's art collections, and are starting to ask difficult questions about what the future of museums should look like. In The Whole Picture, art historian and Uncomfortable Art Tour guide Alice Procter provides a manual for deconstructing everything you thought you knew about art, and fills in the blanks with the stories that have been left out of the art history canon for centuries. The book is divided into four chronological sections, named after four different kinds of art space:The Palace The Classroom The Memorial The Playground Each section tackles the fascinating and often shocking stories of five different art pieces, including the propaganda painting that the East India Company used to justify its control in India; the Maori mokomokai skulls that were traded and collected by Europeans as 'art objects'; and Kara Walker's controversial contemporary sculpture A Subtlety, which raised questions about 'appropriate' interactions with art. Through these stories, Alice brings out the underlying colonial narrative lurking beneath the art industry today, and suggests different ways of seeing and thinking about art in the modern world.The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.

    You'll have a blast reading this and then date...or not date anyone because you are living your best single life with new best friend Roberson by your side." - Phoebe Robinson, New York Times bestselling author of You Can't Touch My Hair

     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.

    He traces his father’s rise to become a friend of Stokely Carmichael and Martin Luther King, a civil rights hero, and a member of the Student Non-Violent Coordinating Committee (SNCC), to explore the plight of the South's dwindling rural, black working class―many of whom can trace their ancestry back for seven generations.In his poetic personal history, we are awakened to the crisis affecting the other “Forgotten Men & Women,” who the media seldom acknowledges. For Sellers, these are his family members, neighbors, and friends. He humanizes the struggles that shape their lives: to gain access to healthcare as rural hospitals disappear; to make ends meet as the factories they have relied on shut down and move overseas; to hold on to precious traditions as their towns erode; to forge a path forward without succumbing to despair.My Vanishing Country is also a love letter to fatherhood―to Sellers' father, his lodestar, whose life lessons have shaped him, and to his newborn twins, who he hopes will embrace the Sellers family name and honor its legacy.

    The promise of escape draws people from all backgrounds to speculative fiction, but when people of color seek passageways into the fantastic, the doors are often barred. This problem lies not only with children’s publishing, but also with the television and film executives tasked with adapting these stories into a visual world. When characters of color do appear, they are often marginalized or subjected to violence, reinforcing for audiences that not all lives matter. The Dark Fantastic is an engaging and provocative exploration of race in popular youth and young adult speculative fiction. Grounded in her experiences as YA novelist, fanfiction writer, and scholar of education, Thomas considers four black girl protagonists from some of the most popular stories of the early 21st century: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from Suzanne Collins’s The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from J.K. Rowling’s Harry Potter. Analyzing their narratives and audience reactions to them reveals how these characters mirror the violence against black and brown people in our own world. In response, Thomas uncovers and builds upon a tradition of fantasy and radical imagination in Black feminism and Afrofuturism to reveal new possibilities. Through fanfiction and other modes of counter-storytelling, young people of color have reinvisioned fantastic worlds that reflect their own experiences, their own lives. As Thomas powerfully asserts, “we dark girls deserve more, because we are more.”

    But how do we stand up for those values in our turbulent world? The Person You Mean to Be is the smart, "semi-bold" person’s guide to fighting for what you believe in.Dolly reveals the surprising causes of inequality, grounded in the "psychology of good people". Using her research findings in unconscious bias as well as work across psychology, sociology, economics, political science, and other disciplines, she offers practical tools to respectfully and effectively talk politics with family, to be a better colleague to people who don’t look like you, and to avoid being a well-intentioned barrier to equality. Being the person we mean to be starts with a look at ourselves.She argues that the only way to be on the right side of history is to be a good-ish— rather than good—person. Good-ish people are always growing. Second, she helps you find your "ordinary privilege"—the part of your everyday identity you take for granted, such as race for a white person, sexual orientation for a straight person, gender for a man, or education for a college graduate. This part of your identity may bring blind spots, but it is your best tool for influencing change. Third, Dolly introduces the psychological reasons that make it hard for us to see the bias in and around us. She leads you from willful ignorance to willful awareness. Finally, she guides you on how, when, and whom, to engage (and not engage) in your workplaces, homes, and communities. Her science-based approach is a method any of us can put to use in all parts of our life.Whether you are a long-time activist or new to the fight, you can start from where you are. Through the compelling stories Dolly shares and the surprising science she reports, Dolly guides each of us closer to being the person we mean to be.

    But one rogue researcher looked at the data and decided everyone was wrong. Franz Boas was the very image of a mad scientist: a wild-haired immigrant with a thick German accent. By the 1920s he was also the foundational thinker and public face of a new school of thought at Columbia University called cultural anthropology. He proposed that cultures did not exist on a continuum from primitive to advanced. Instead, every society solves the same basic problems--from childrearing to how to live well--with its own set of rules, beliefs, and taboos.Boas's students were some of the century's intellectual stars: Margaret Mead, the outspoken field researcher whose Coming of Age in Samoa is one of the most widely read works of social science of all time; Ruth Benedict, the great love of Mead's life, whose research shaped post-Second World War Japan; Ella Deloria, the Dakota Sioux activist who preserved the traditions of Native Americans of the Great Plains; and Zora Neale Hurston, whose studies under Boas fed directly into her now-classic novel, Their Eyes Were Watching God. Together, they mapped vanishing civilizations from the Arctic to the South Pacific and overturned the relationship between biology and behavior. Their work reshaped how we think of women and men, normalcy and deviance, and re-created our place in a world of many cultures and value systems. Gods of the Upper Air is a page-turning narrative of radical ideas and adventurous lives, a history rich in scandal, romance, and rivalry, and a genesis story of the fluid conceptions of identity that define our present moment.

    Garza wrote: Black people. I love you. I love us. Our lives matter. With the speed and networking capacities of social media, #BlackLivesMatter became the hashtag heard ’round the world. But Garza knew even then that hashtags don’t start movements—people do. Long before #BlackLivesMatter became a rallying cry for this generation, Garza had spent the better part of two decades learning and unlearning some hard lessons about organizing. The lessons she offers are different from the “rules for radicals” that animated earlier generations of activists, and diverge from the charismatic, patriarchal model of the American civil rights movement. She reflects instead on how making room amongst the woke for those who are still awakening can inspire and activate more people to fight for the world we all deserve. This is the story of one woman’s lessons through years of bringing people together to create change. Most of all, it is a new paradigm for change for a new generation of changemakers, from the mind and heart behind one of the most important movements of our time.

    Apple products, indie music, food co-ops, and vintage T-shirts make them weak in the knees. They believe they’re unique, yet somehow they’re all exactly the same, talking about how they “get” Sarah Silverman’s “subversive” comedy and Wes Anderson’s “droll” films. They’re also down with diversity and up on all the best microbrews, breakfast spots, foreign cinema, and authentic sushi. They’re organic, ironic, and do not own TVs. You know who they are: They’re white people. And they’re here, and you’re gonna have to deal. Fortunately, here’s a book that investigates, explains, and offers advice for finding social success with the Caucasian persuasion. So kick back on your IKEA couch and lose yourself in the ultimate guide to the unbearable whiteness of being.