Once finally emancipated by Senator Daniel Webster later in life, he would give an aged and impoverished Dolley Madison, his former owner, money from his own pocket, write the first White House memoir, and see his sons fight with the Union Army in the Civil War. He died a free man in northwest Washington at 75. Based on correspondence, legal documents, and journal entries rarely seen before, this amazing portrait of the times reveals the mores and attitudes toward slavery of the nineteenth century, and sheds new light on famous characters such as James Madison, who believed the white and black populations could not coexist as equals; French General Lafayette who was appalled by this idea; Dolley Madison, who ruthlessly sold Paul after her husband's death; and many other since forgotten slaves, abolitionists, and civil right activists.

    His belief in a world that can be made better, one act at a time, powers his narratives and opens up a view on the costs, consequences, and rewards of leading a movement."--Henry Louis Gates, Jr.From the internationally recognized civil rights activist/organizer and host of the podcast Pod Save the People, a meditation on resistance, justice, and freedom, and an intimate portrait of a movement from the front lines.In August of 2014, twenty-nine-year-old activist DeRay Mckesson stood with hundreds of others on the streets of Ferguson, Missouri, to push a message of justice and accountability. These protests, and others like them in cities across the country, resulted in the birth of the Black Lives Matter movement. Now, in his first book, Mckesson lays out the intellectual, pragmatic political framework for a new liberation movement. Continuing a conversation about activism, resistance, and justice that embraces our nation's complex history, he dissects how deliberate oppression persists, how racial injustice strips our lives of promise, and how technology has added a new dimension to mass action and social change. He argues that our best efforts to combat injustice have been stunted by the belief that racism's wounds are history, and suggests that intellectual purity has curtailed optimistic realism. The book offers a new framework and language for understanding the nature of oppression. With it, we can begin charting a course to dismantle the obvious and subtle structures that limit freedom.Honest, courageous, and imaginative, On the Other Side of Freedom is a work brimming with hope. Drawing from his own experiences as an activist, organizer, educator, and public official, Mckesson exhorts all Americans to work to dismantle the legacy of racism and to imagine the best of what is possible. Honoring the voices of a new generation of activists, On the Other Side of Freedom is a visionary's call to take responsibility for imagining, and then building, the world we want to live in.

    In This Will Be My Undoing, she takes on perhaps one of the most provocative contemporary topics: What does it mean to “be”—to live as, to exist as—a black woman today? This is a book about black women, but it’s necessary reading for all Americans.

    Shortly thereafter he was working freelance for Arab news sources and got a call that a busload of Italian tourists were massacred at a Cairo museum. This is his first view of the carnage these years would pile on. Over two decades Engel has been under fire, blown out of hotel beds, taken hostage. He has watched Mubarak and Morsi in Egypt arrested and condemned, reported from Jerusalem, been through the Lebanese war, covered the whole shooting match in Iraq, interviewed Libyan rebels who toppled Gaddafi, reported from Syria as Al-Qaeda stepped in, was kidnapped in the Syrian crosscurrents of fighting. He goes into Afghanistan with the Taliban and to Iraq with ISIS. In the page-turning And Then All Hell Broke Loose, he shares his adventure tale.Engel takes chances, though not reckless ones, keeps a level head and a sense of humor, as well as a grasp of history in the making. Reporting as NBC’s Chief-Foreign Correspondent, he reveals his unparalleled access to the major figures, the gritty soldiers, and the helpless victims in the Middle East during this watershed time. We can experience the unforgettable suffering and despair of the local populations. Engel’s vivid description is intimate and personal. Importantly, it is a succinct and authoritative account of the ever-changing currents in that dangerous land.

    Wells to Sandra Bland and Black Lives Matter, black women freedom fighters have braved violence, scorn, despair, and isolation in order to lodge their protests. In A Bound Woman Is a Dangerous Thing, DaMaris Hill honors their experiences with at times harrowing, at times hopeful responses to her heroes, illustrated with black-and-white photographs throughout.For black American women, the experience of being bound has taken many forms: from the bondage of slavery to the Reconstruction-era criminalization of women; from the brutal constraints of Jim Crow to our own era’s prison industrial complex, where between 1980 and 2014, the number of incarcerated women increased by 700%.* For those women who lived and died resisting the dehumanization of confinement--physical, social, intellectual--the threat of being bound was real, constant, and lethal.In A Bound Woman Is a Dangerous Thing, Hill presents bitter, unflinching history that artfully captures the personas of these captivating, bound yet unbridled African-American women. Hill's passionate odes to Zora Neale Hurston, Lucille Clifton, Fannie Lou Hamer, Grace Jones, Eartha Kitt, and others also celebrate the modern-day inheritors of their load and light, binding history, author, and reader in an essential legacy of struggle.*(The Sentencing Project)

    In this “compassionate retelling of an abjectly tragic story” (New York Times), Danielle Allen—a prize-winning scholar—recounts her heroic efforts to rescue Michael Alexander Allen, her beloved baby cousin, who was arrested at fifteen for an attempted carjacking. Tried as an adult and sentenced to thirteen years, Michael served eleven. Three years later, he was dead. Why did this gifted young man, who dreamed of being a firefighter and a writer, end up murdered? Why did he languish in prison? And why at fifteen was he in an alley in South Central Los Angeles, holding a gun while trying to steal someone’s car? Hailed as a “literary miracle” (Washington Post), this fierce family memoir makes mass incarceration nothing less than a new American tragedy.

    While only a handful of people present at the agricultural project survived that day in Jonestown, more than eighty members of Peoples Temple, led by Jim Jones, were elsewhere in Guyana on that day, and thousands more members of the movement still lived in California. Emmy-nominated writer Leigh Fondakowski, who is best known for her work on the play and HBO film The Laramie Project, spent three years traveling the United States to interview these survivors, many of whom have never talked publicly about the tragedy. Using more than two hundred hours of interview material, Fondakowski creates intimate portraits of these survivors as they tell their unforgettable stories.Collectively this is a record of ordinary people, stigmatized as cultists, who after the Jonestown massacre were left to deal with their grief, reassemble their lives, and try to make sense of how a movement born in a gospel of racial and social justice could have gone so horrifically wrong—taking with it the lives of their sons and daughters, husbands and wives, fathers and mothers, and brothers and sisters. As these survivors look back, we learn what led them to join the Peoples Temple movement, what life in the church was like, and how the trauma of Jonestown’s end still affects their lives decades later.What emerges are portrayals both haunting and hopeful—of unimaginable sadness, guilt, and shame but also resilience and redemption. Weaving her own artistic journey of discovery throughout the book in a compelling historical context, Fondakowski delivers, with both empathy and clarity, one of the most gripping, moving, and humanizing accounts of Jonestown ever written.

    But after her mother, unsettled by growing political unrest, leaves for medical treatment in India, the civil war intensifies, changing young Enjeela’s life forever. Amid the rumble of invading Soviet tanks, Enjeela and her family are thrust into chaos and fear when it becomes clear that her mother will not be coming home.Thus begins an epic, reckless, and terrifying five-year journey of escape for Enjeela, her siblings, and their father to reconnect with her mother. In navigating the dangers ahead of them, and in looking back at the wilderness of her homeland, Enjeela discovers the spiritual and physical strength to find hope in the most desperate of circumstances.A heart-stopping memoir of a girl shaken by the brutalities of war and empowered by the will to survive, The Broken Circle brilliantly illustrates that family is not defined by the borders of a country but by the bonds of the heart.

    

    But they all made a significant contribution to the cultural and intellectual history of America and ultimately changed the course of the twentieth century, in spite of the men who often undervalued or dismissed their work. These ten women—Dorothy Parker, Rebecca West, Hannah Arendt, Mary McCarthy, Susan Sontag, Pauline Kael, Joan Didion, Nora Ephron, Renata Adler, and Janet Malcolm—are united by what Dean calls “sharpness,” the ability to cut to the quick with precision of thought and wit. Sharp is a vibrant depiction of the intellectual beau monde of twentieth-century New York, where gossip-filled parties at night gave out to literary slugging-matches in the pages of the Partisan Review or the New York Review of Books. It is also a passionate portrayal of how these women asserted themselves through their writing in a climate where women were treated with extreme condescension by the male-dominated cultural establishment. Mixing biography, literary criticism, and cultural history, Sharp is a celebration of this group of extraordinary women, an engaging introduction to their works, and a testament to how anyone who feels powerless can claim the mantle of writer, and, perhaps, change the world.

    These are stories which Xinran could not bring herself to tell previously - because they were too painful and close to home. In the footsteps of Xinran's Good Women of China, this is personal, immediate, full of harrowing, tragic detail but also uplifting, tender moments. Ten chapters, ten women and many stories of heartbreak, including her own: Xinran once again takes us right into the lives of Chinese women - students, successful business women, midwives, peasants, all with memories which have stained their lives. Whether as a consequence of the single-child policy, destructive age-old traditions or hideous economic necessity... these women had to give up their daughters for adoption, others were forced to abandon them - on city streets, outside hospitals, orphanages or on station platforms - and others even had to watch their baby daughters being taken away at birth, and drowned. Here are the 'extra-birth guerrillas' who travel the roads and the railways, evading the system, trying to hold onto more than one baby; naive young student girls who have made life-wrecking mistakes; the 'pebble mother' on the banks of the Yangzte still looking into the depths for her stolen daughter; peasant women rejected by their families because they can't produce a male heir; and finally there is Little Snow, the orphaned baby fostered by Xinran but 'confiscated' by the state. The book sends a heartrending message from their birth mothers to all those Chinese girls who have been adopted overseas (at the end of 2006 there were over 120,000 registered adoptive families for Chinese orphans, almost all girls, in 27 countries), to show them how things really were for their mothers, and to tell them they were loved and will never be forgotten.

    Rankine's questions disrupt the false comfort of our culture's liminal and private spaces--the airport, the theater, the dinner party, the voting booth--where neutrality and politeness live on the surface of differing commitments, beliefs, and prejudices as our public and private lives intersect.This brilliant arrangement of essays, poems, and images includes the voices and rebuttals of others: white men in first class responding to, and with, their white male privilege; a friend's explanation of her infuriating behavior at a play; and women confronting the political currency of dying their hair blond, all running alongside fact-checked notes and commentary that complements Rankine's own text, complicating notions of authority and who gets the last word.Sometimes wry, often vulnerable, and always prescient, Just Us is Rankine's most intimate work, less interested in being right than in being true, being together.

    In her absence, the landscape had been altered beyond recognition, her tribal government swayed by corporate interests, and her community burdened by a surge in violence and addiction. Three years later, when Lissa learned that a young white oil worker, Kristopher "KC" Clarke, had disappeared from his reservation worksite, she became particularly concerned. No one knew where Clarke had gone, and few people were actively looking for him.Yellow Bird traces Lissa's steps as she obsessively hunts for clues to Clarke's disappearance. She navigates two worlds--that of her own tribe, changed by its newfound wealth, and that of the non-Native oilmen, down on their luck, who have come to find work on the heels of the economic recession. Her pursuit of Clarke is also a pursuit of redemption, as Lissa atones for her own crimes and reckons with generations of trauma.

    A conversation with a group of today’s military age men and women about America’s involvement in Vietnam inspired Jeff Danziger to write about his own wartime experiences: “War is interesting,” he reveals, “if you can avoid getting killed, and don’t mind loud noises.” Fans of his cartooning will recognize his mordant humor applied to his own wartime training and combat experiences: “I learned, and I think most veterans learn, that making people or nations do something by bombing or sending in armed troops usually fails.” Near the end of his telling, Danziger invites his audience—in particular the young friends who inspired him to write this informative and rollicking memoir—to ponder: “What would you do? . . . Could you summon the bravery—or the internal resistance—to simply refuse to be part of the whole idiotic theater of the war? . . . Or would you be like me?”

    In 1937, a schoolteacher on the island of Maui challenged a group of poverty-stricken sugar plantation kids to swim upstream against the current of their circumstance. The goal? To become Olympians. They faced seemingly insurmountable obstacles. The children were Japanese-American and were malnourished and barefoot. They had no pool; they trained in the filthy irrigation ditches that snaked down from the mountains into the sugarcane fields. Their future was in those same fields, working alongside their parents in virtual slavery, known not by their names but by numbered tags that hung around their necks. Their teacher, Soichi Sakamoto, was an ordinary man whose swimming ability didn't extend much beyond treading water. In spite of everything, including the virulent anti-Japanese sentiment of the late 1930s, in their first year the children outraced Olympic athletes twice their size; in their second year, they were national and international champs, shattering American and world records and making headlines from L.A. to Nazi Germany. In their third year, they'd be declared the greatest swimmers in the world. But they'd also face their greatest obstacle: the dawning of a world war and the cancellation of the Games. Still, on the battlefield, they'd become the 20th century's most celebrated heroes, and in 1948, they'd have one last chance for Olympic glory. They were the Three-Year Swim Club. This is their story.*Includes Reading Group Guide*