a searing book about race and prejudice in America... brims with insights that only someone who has lived on both sides of the racial divide could gain."--Cleveland Plain Dealer "A triumph of storytelling as well as a triumph of spirit."--Alex Kotlowitz, award-winning author of There Are No Children Here As a child in 1950s segregated Virginia, Gregory Howard Williams grew up believing he was white. But when the family business failed and his parents' marriage fell apart, Williams discovered that his dark-skinned father, who had been passing as Italian-American, was half black. The family split up, and Greg, his younger brother, and their father moved to Muncie, Indiana, where the young boys learned the truth about their heritage. Overnight, Greg Williams became black.In this extraordinary and powerful memoir, Williams recounts his remarkable journey along the color line and illuminates the contrasts between the black and white worlds: one of privilege, opportunity and comfort, the other of deprivation, repression, and struggle. He tells of the hostility and prejudice he encountered all too often, from both blacks and whites, and the surprising moments of encouragement and acceptance he found from each.Life on the Color Line is a uniquely important book. It is a wonderfully inspiring testament of purpose, perseverance, and human triumph.Winner of the Los Angeles Times Book Prize

    Rooted in Lewis' personal story, it also reflects on the highs and lows of the broader civil rights movement.Book One spans John Lewis' youth in rural Alabama, his life-changing meeting with Martin Luther King, Jr., the birth of the Nashville Student Movement, and their battle to tear down segregation through nonviolent lunch counter sit-ins, building to a stunning climax on the steps of City Hall.Many years ago, John Lewis and other student activists drew inspiration from the 1950s comic book Martin Luther King and the Montgomery Story. Now, his own comics bring those days to life for a new audience, testifying to a movement whose echoes will be heard for generations.(Back flap)

    The great scholar, W. E. B. Du Bois, once wrote about the Problem of race in America, and what he called “Double Consciousness,” a sensitivity that every African American possesses in order to survive. Since childhood, Ailey Pearl Garfield has understood Du Bois’s words all too well. Bearing the names of two formidable Black Americans—the revered choreographer Alvin Ailey and her great grandmother Pearl, the descendant of enslaved Georgians and tenant farmers—Ailey carries Du Bois’s Problem on her shoulders.Ailey is reared in the north in the City but spends summers in the small Georgia town of Chicasetta, where her mother’s family has lived since their ancestors arrived from Africa in bondage. From an early age, Ailey fights a battle for belonging that’s made all the more difficult by a hovering trauma, as well as the whispers of women—her mother, Belle, her sister, Lydia, and a maternal line reaching back two centuries—that urge Ailey to succeed in their stead.To come to terms with her own identity, Ailey embarks on a journey through her family’s past, uncovering the shocking tales of generations of ancestors—Indigenous, Black, and white—in the deep South. In doing so Ailey must learn to embrace her full heritage, a legacy of oppression and resistance, bondage and independence, cruelty and resilience that is the story—and the song—of America itself.

    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.

    The sketches, poems, and stories of black rural and urban life that make up Cane are rich in imagery. Visions of smoke, sugarcane, dusk, and flame permeate the Southern landscape: the Northern world is pictured as a harsher reality of asphalt streets. Impressionistic, sometimes surrealistic, the pieces are redolent of nature and Africa, with sensuous appeals to eye and ear.

    "Never before, in the entire history of the American theater, has so much of the truth of black people's lives been seen on the stage," observed James Baldwin shortly before A Raisin in the Sun opened on Broadway in 1959.Indeed Lorraine Hansberry's award-winning drama about the hopes and aspirations of a struggling, working-class family living on the South Side of Chicago connected profoundly with the psyche of black America--and changed American theater forever.  The play's title comes from a line in Langston Hughes's poem "Harlem," which warns that a dream deferred might "dry up/like a raisin in the sun.""The events of every passing year add resonance to A Raisin in the Sun," said The New York Times.  "It is as if history is conspiring to make the play a classic."  This Modern Library edition presents the fully restored, uncut version of Hansberry's landmark work with an introduction by Robert Nemiroff.

    The collection will include pre-published essays that have gone viral, like “The White Industrial Savior Complex,” first published in The Atlantic.

    In his groundbreaking book, Disintegration, Pulitzer-Prize winning columnist Eugene Robinson argues that over decades of desegregation, affirmative action, and immigration, the concept of Black America has shattered. Instead of one black America, now there are four:• a Mainstream middle-class majority with a full ownership stake in American society;• a large, Abandoned minority with less hope of escaping poverty and dysfunction than at any time since Reconstruction’s crushing end; • a small Transcendent elite with such enormous wealth, power, and influence that even white folks have to genuflect; • and two newly Emergent groups—individuals of mixed-race heritage and communities of recent black immigrants—that make us wonder what “black” is even supposed to mean.Robinson shows that the four black Americas are increasingly distinct, separated by demography, geography, and psychology. They have different profiles, different mindsets, different hopes, fears, and dreams. What’s more, these groups have become so distinct that they view each other with mistrust and apprehension. And yet all are reluctant to acknowledge division. Disintegration offers a new paradigm for understanding race in America, with implications both hopeful and dispiriting. It shines necessary light on debates about affirmative action, racial identity, and the ultimate question of whether the black community will endure.

      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.

    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.

    There are some facts and figures, but they tell us nothing about the women themselves: their motives, their emotions, and the memories they passed on to their children. Gayl Jones's first novel is a gripping portrait of this harsh sexual and psychological genealogy....Jones's language is subtle and sinewy, and her imagination sure." —Margo Jefferson, Newsweek

    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.

    This collection of more than 100 poems that honestly and artfully confront topics ranging from poverty and motherhood to Van Gogh and Mandela is presented in Tupac Shakur's own handwriting on one side of the page, with a typed version on the opposite side.

    Is this self-segregation a problem to address or a coping strategy? Beverly Daniel Tatum, a renowned authority on the psychology of racism, argues that straight talk about our racial identities is essential if we are serious about enabling communication across racial and ethnic divides. These topics have only become more urgent as the national conversation about race is increasingly acrimonious. This fully revised edition is essential reading for anyone seeking to understand the dynamics of race in America.

    She should be heard." —The New York TimesAngela Davis provides a powerful history of the social and political influence of whiteness and elitism in feminism, from abolitionist days to the present, and demonstrates how the racist and classist biases of its leaders inevitably hampered any collective ambitions. While Black women were aided by some activists like Sarah and Angelina Grimke and the suffrage cause found unwavering support in Frederick Douglass, many women played on the fears of white supremacists for political gain rather than take an intersectional approach to liberation. Here, Davis not only contextualizes the legacy and pitfalls of civil and women's rights activists, but also discusses Communist women, the murder of Emmitt Till, and Margaret Sanger's racism. Davis shows readers how the inequalities between Black and white women influence the contemporary issues of rape, reproductive freedom, housework and child care in this bold and indispensable work.