Put Your Faith into ActionA leading voice at the crossroads of faith and politics offers a prophetic appeal for our times: faced with a growing gap between the rich and poor, bombarded by national security alerts that ratchet up our stress levels, taxed by a government that spends billions of dollars on war -- where do we find hope? In this revised and updated edition of his classic, Jim Wallis insightfully critiques contemporary culture and politics, inspiring us with stories to convert our way of thinking and point to a solution to our current social and political dilemmas.

    Over the next five decades of reporting, he often returned to scenes of racial tension. Now, for the first time, the best of Trillin’s pieces on race in America have been collected in one volume.   In the title essay of Jackson, 1964, we experience Trillin’s riveting coverage of the pathbreaking voter registration drive known as the Mississippi Summer Project—coverage that includes an unforgettable airplane conversation between Martin Luther King, Jr., and a young white man sitting across the aisle. (“I’d like to be loved by everyone,” King tells him, “but we can’t always wait for love”).   In the years that follow, Trillin rides along with the National Guard units assigned to patrol black neighborhoods in Wilmington, Delaware, long after the riots there have ended; looks into a Boston disco whose doormen ask black patrons for more photo IDs than most people carry; reports on the case of a black homeowner accused of manslaughter in the death of a white teenager in an overwhelmingly white Long Island suburb; and chronicles the remarkable fortunes of the Zulu Social Aid & Pleasure Club, a black carnival krewe in New Orleans whose members parade on Mardi Gras in blackface.   He takes on issues that are as relevant today as they were when he wrote about them. Excessive sentencing is examined in a 1970 piece about a black militant in Houston sentenced to thirty years in prison for giving away one marijuana cigarette. The role of race in the use of deadly force by police is highlighted in a 1975 article about an African American shot by a white policeman in Seattle.   Uniting all these pieces is Trillin’s unflinching eye and graceful prose. Jackson, 1964 is an indispensable account of a half-century of race and racism in America, through the lens of a master journalist and writer who was there to bear witness.  Praise for Calvin Trillin  “[A writer] of painterly, impeccably crafted journalism.”—People   “There can never be enough of Calvin Trillin. He has become a literary treasure over the past four decades.”—The Washington Times   “Without false rhetoric . . . [Trillin] can suddenly bring into focus the whole confused story of Civil Rights by examining in detail one particularly significant episode.”—The Times Literary Supplement

    And then seventeen-year-old Trayvon Martin was shot by a wannabe cop in Florida; and then eighteen-year-old Michael Brown in Ferguson, Missouri; and then Baltimore blew up; and then gunfire shattered a prayer meeting at a church in Charleston, South Carolina. Suddenly the entire country awakened to a stark fact: African Americans—particularly young black men—are an endangered species.Now the country’s urban war zone is brought powerfully to life by a rising young literary talent, D. Watkins. The author fought his way up on the east side (the “beast side”) of Baltimore, Maryland—or “Bodymore, Murderland,” as his friends call it—surviving murderous business rivals in the drug trade and equally predatory lawmen. Throughout it all, he pursued his education, earning a master’s degree from Johns Hopkins University, while staying rooted in his community.When black residents of Baltimore finally decided they had had enough—after the brutal killing of twenty-five-year-old Freddie Gray while in police custody—Watkins was on the streets when the city erupted. He writes about his bleeding hometown with the razor-sharp insights of someone who bleeds along with it. Here are true dispatches from the other side of America.

    George and Willie Muse were two little boys born to a sharecropper family. One day a white man offered them a piece of candy, setting off events that would take them around the world and change their lives forever.Captured into the circus, the Muse brothers performed for royalty at Buckingham Palace and headlined over a dozen sold-out shows at New York's Madison Square Garden. They were global superstars in a pre-broadcast era. But the very root of their success was in the color of their skin and in the outrageous caricatures they were forced to assume: supposed cannibals, sheep-headed freaks, even "Ambassadors from Mars." Back home, their mother never accepted that they were "gone" and spent 28 years trying to get them back. Through hundreds of interviews and decades of research, Beth Macy expertly explores a central and difficult question: Where were the brothers better off? On the world stage as stars or in poverty at home? Truevine is a compelling narrative rich in historical detail and rife with implications to race relations today.

    Together with its rigidly enforced canon of racial "etiquette," these rules governed nearly every aspect of life—and outlined draconian punishments for infractions.The purpose of Jim Crow was to keep African Americans subjugated at a level as close as possible to their former slave status. Exceeding even South Africa's notorious apartheid in the humiliation, degradation, and suffering it brought, Jim Crow left scars on the American psyche that are still felt today. American Nightmare examines and explains Jim Crow from its beginnings to its end: how it came into being, how it was lived, how it was justified, and how, at long last, it was overcome only a few short decades ago. Most importantly, this book reveals how a nation founded on principles of equality and freedom came to enact as law a pervasive system of inequality and virtual slavery.Although America has finally consigned Jim Crow to the historical graveyard, Jerrold Packard shows why it is important that this scourge—and an understanding of how it happened—remain alive in the nation's collective memory.

     Ryan Speedo Green had a tough upbringing in southeastern Virginia: his family lived in a trailer park and later a bullet-riddled house across the street from drug dealers. His father was absent; his mother was volatile and abusive.At the age of twelve, Ryan was sent to Virginia's juvenile facility of last resort. He was placed in solitary confinement. He was uncontrollable, uncontainable, with little hope for the future. In 2011, at the age of twenty-four, Ryan won a nationwide competition hosted by New York's Metropolitan Opera, beating out 1,200 other talented singers. Today, he is a rising star performing major roles at the Met and Europe's most prestigious opera houses.SING FOR YOUR LIFE chronicles Ryan's suspenseful, racially charged and artistically intricate journey from solitary confinement to stardom. Daniel Bergner takes readers on Ryan's path toward redemption, introducing us to a cast of memorable characters--including the two teachers from his childhood who redirect his rage into music, and his long-lost father who finally reappears to hear Ryan sing. Bergner illuminates all that it takes--technically, creatively--to find and foster the beauty of the human voice. And Sing for Your Life sheds unique light on the enduring and complex realities of race in America.

    He arrived with a pistol, 88 bullets, and hopes of starting a race war. Dylann Roof’s massacre of nine innocents during their closing prayer horrified the nation. Two days later, some relatives of the dead stood at Roof’s hearing and said, “I forgive you.” That grace offered the country a hopeful ending to an awful story. But for the survivors and victims’ families, the journey had just begun.In Grace Will Lead Us Home, Pulitzer Prize-winning journalist Jennifer Berry Hawes provides a definitive account of the tragedy’s aftermath. With unprecedented access to the grieving families and other key figures, Hawes offers a nuanced and moving portrait of the events and emotions that emerged in the massacre’s wake.The two adult survivors of the shooting begin to make sense of their lives again. Rifts form between some of the victims’ families and the church. A group of relatives fights to end gun violence, capturing the attention of President Obama. And a city in the Deep South must confront its racist past. This is the story of how, beyond the headlines, a community of people begins to heal.An unforgettable and deeply human portrait of grief, faith, and forgiveness, Grace Will Lead Us Home is destined to be a classic in the finest tradition of journalism.

    Lies My Teacher Told Me won the American Book Award and the Oliver Cromwell Cox Award for Distinguished Anti-Racist Scholarship.James W. Loewen, a sociology professor and distinguished critic of history education, puts 12 popular textbooks under the microscope-and what he discovers will surprise you. In his opinion, every one of these texts fails to make its subject interesting or memorable. Worse still is the proliferation of blind patriotism, mindless optimism and misinformation filling the pages.From the truth about Christopher Columbus to the harsh reality of the Vietnam War, Loewen picks apart the lies we've been told. This audiobook, narrated by Brian Keeler (The Hurricane, "All My Children") will forever change your view of the past.

    Written during the first two hundred days of the Trump presidency, these poems are haunted by the country's past and future eras and errors, its dreams and nightmares. Inventive, compassionate, hilarious, melancholy, and bewildered--the wonders of this new collection are irreducible and stunning.

    Stunned, confused, and only twenty-nine years old, Hinton knew that it was a case of mistaken identity and believed that the truth would prove his innocence and ultimately set him free.But with no money and a different system of justice for a poor black man in the South, Hinton was sentenced to death by electrocution. He spent his first three years on Death Row at Holman State Prison in agonizing silence—full of despair and anger toward all those who had sent an innocent man to his death. But as Hinton realized and accepted his fate, he resolved not only to survive, but find a way to live on Death Row. For the next twenty-seven years he was a beacon—transforming not only his own spirit, but those of his fellow inmates, fifty-four of whom were executed mere feet from his cell. With the help of civil rights attorney and bestselling author of Just Mercy, Bryan Stevenson, Hinton won his release in 2015.With a foreword by Stevenson, The Sun Does Shine is an extraordinary testament to the power of hope sustained through the darkest times. Destined to be a classic memoir of wrongful imprisonment and freedom won, Hinton’s memoir tells his dramatic thirty-year journey and shows how you can take away a man’s freedom, but you can’t take away his imagination, humor, or joy.

    But in her speech she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. Inspired by these few words, Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt—has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance.Abdurraqib writes prose brimming with jubilation and pain, infused with the lyricism and rhythm of the musicians he loves. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space—from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio.

    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.

    Two hundred years later, Joy Harjo returns to her family’s lands and opens a dialogue with history. In An American Sunrise, Harjo finds blessings in the abundance of her homeland and confronts the site where her people, and other indigenous families, essentially disappeared. From her memory of her mother’s death, to her beginnings in the native rights movement, to the fresh road with her beloved, Harjo’s personal life intertwines with tribal histories to create a space for renewed beginnings. Her poems sing of beauty and survival, illuminating a spirituality that connects her to her ancestors and thrums with the quiet anger of living in the ruins of injustice. A descendent of storytellers and “one of our finest—and most complicated—poets” (Los Angeles Review of Books), Joy Harjo continues her legacy with this latest powerful collection.

    A passionate, personal, urgent book from the man who sparked a national debate."There is a difference between remembrance of history and reverence for it." When Mitch Landrieu addressed the people of New Orleans in May 2017 about his decision to take down four Confederate monuments, including the statue of Robert E. Lee, he struck a nerve nationally, and his speech has now been heard or seen by millions across the country. In his first book, Mayor Landrieu discusses his personal journey on race as well as the path he took to making the decision to remove the monuments, tackles the broader history of slavery, race and institutional inequities that still bedevil America, and traces his personal relationship to this history. His father, as state senator and mayor, was a huge force in the integration of New Orleans in the 1960s and 19070s. Landrieu grew up with a progressive education in one of the nation's most racially divided cities, but even he had to relearn Southern history as it really happened.Equal parts unblinking memoir, history, and prescription for finally confronting America's most painful legacy, In the Shadow of Statues will contribute strongly to the national conversation about race in the age of Donald Trump, at a time when racism is resurgent with seemingly tacit approval from the highest levels of government and when too many Americans have a misplaced nostalgia for a time and place that never existed.

    Challenging the commonly held assumption that the “moral majority” backed Donald Trump for purely pragmatic reasons, Du Mez reveals that Donald Trump in fact represents the fulfillment, rather than the betrayal, of white evangelicals’ most deeply held values.Jesus and John Wayne is a sweeping account of the last seventy-five years of white evangelicalism, showing how American evangelicals have worked for decades to replace the Jesus of the Gospels with an idol of rugged masculinity and Christian nationalism, or in the words of one modern chaplain, with “a spiritual badass.” As Du Mez explains, the key to understanding this transformation is to recognize the role of culture in modern American evangelicalism. Many of today’s evangelicals may not be theologically astute, but they know their VeggieTales, they’ve read John Eldredge’s Wild at Heart, and they learned about purity before they learned about sex—and they have a silver ring to prove it. Evangelical books, films, music, clothing, and merchandise shape the beliefs of millions. And evangelical popular culture is teeming with muscular heroes—mythical warriors and rugged soldiers, men like Oliver North, Ronald Reagan, Mel Gibson, and the Duck Dynasty clan, who assert white masculine power in defense of “Christian America.” Chief among these evangelical legends is John Wayne, an icon of a lost time when men were uncowed by political correctness, unafraid to tell it like it was, and did what needed to be done.Trump, in other words, is hardly the first flashy celebrity to capture evangelicals’ hearts and minds, nor is he the first strongman to promise evangelicals protection and power. Indeed, the values and viewpoints at the heart of white evangelicalism today—patriarchy, authoritarian rule, aggressive foreign policy, fear of Islam, ambivalence toward #MeToo, and opposition to Black Lives Matter and the LGBTQ community—are likely to persist long after Trump leaves office.A much-needed reexamination, Jesus and John Wayne explains why evangelicals have rallied behind the least-Christian president in American history and how they have transformed their faith in the process, with enduring consequences for all of us.