The powerful story of Fannie Lou Hamer, who grew up among "the poorest of the poor" in rural Mississippi and became a national figure in the civil rights movement in the 1960s.

    P. Ellis grew up in the poor white section of Durham, North Carolina, and as a young man joined the Ku Klux Klan. Ann Atwater, a single mother from the poor black part of town, quit her job as a household domestic to join the civil rights fight. During the 1960s, as the country struggled with the explosive issue of race, Atwater and Ellis met on opposite sides of the public school integration issue. Their encounters were charged with hatred and suspicion. In an amazing set of transformations, however, each of them came to see how the other had been exploited by the South's rigid power structure, and they forged a friendship that flourished against a backdrop of unrelenting bigotry.Rich with details about the rhythms of daily life in the mid-twentieth-century South, The Best of Enemies offers a vivid portrait of a relationship that defied all odds. By placing this very personal story into broader context, Osha Gray Davidson demonstrates that race is intimately tied to issues of class, and that cooperation is possible--even in the most divisive situations--when people begin to listen to one another.

    But while this event transformed the complexion of America and provided black people with new economic opportunities, it also disconnected them from their roots, their land, and their sense of identity, argues Morgan Jerkins. In this fascinating and deeply personal exploration, she recreates her ancestors’ journeys across America, following the migratory routes they took from Georgia and South Carolina to Louisiana, Oklahoma, and California.Following in their footsteps, Jerkins seeks to understand not only her own past, but the lineage of an entire group of people who have been displaced, disenfranchised, and disrespected throughout our history. Through interviews, photos, and hundreds of pages of transcription, Jerkins braids the loose threads of her family’s oral histories, which she was able to trace back 300 years, with the insights and recollections of black people she met along the way—the tissue of black myths, customs, and blood that connect the bones of American history.Incisive and illuminating, Wandering in Strange Lands is a timely and enthralling look at America’s past and present, one family’s legacy, and a young black woman’s life, filtered through her sharp and curious eyes.

    “There is a fix,” Acho says. “But in order to access it, we’re going to have to have some uncomfortable conversations.”In Uncomfortable Conversations With a Black Man, Acho takes on all the questions, large and small, insensitive and taboo, many white Americans are afraid to ask—yet which all Americans need the answers to, now more than ever. With the same open-hearted generosity that has made his video series a phenomenon, Acho explains the vital core of such fraught concepts as white privilege, cultural appropriation, and “reverse racism.”In his own words, he provides a space of compassion and understanding in a discussion that can lack both. He asks only for the reader’s curiosity—but along the way, he will galvanize all of us to join the antiracist fight.

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

    This is an opportunity for children to learn their ABCs to the sound of words beyond apple, boy, and cat, and an opportunity for young thinkers to prepare for big ideas.

    As the Democrats swept into the White House on a wave of black defectors from the Party of Lincoln, a group of African American intellectuals--legal minds, social scientists, media folk--sought to get the community's needs on the table. This would become the Black Cabinet, a group of African American racial affairs experts working throughout the New Deal, forming an unofficial advisory council to lobby the President. But with the white Southern vote so important to the fortunes of the Party, the path would be far from smooth.Most prominent in the Black Cabinet were Mary McLeod Bethune, an educator close to Eleanor Roosevelt, and her "boys" Robert Weaver, a Harvard-educated economist who pioneered enforcement standards for federal anti-discrimination guidelines (and, years later, the first African American Cabinet secretary); Bill Hastie, a lawyer who would become a federal appellate judge; Al Smith, head of the largest black jobs program in the New Deal at the WPA; and Robert Vann, a newspaper publisher whose unstinting reporting on the administration's shortcomings would keep his erstwhile colleagues honest. Ralph Bunche, Walter White of the NAACP, A. Philip Randolph, and others are part of the story as well. But the Black Cabinet was never officially recognized by FDR, and with the demise of the New Deal, it disappeared from history.Jill Watts's The Black Cabinet is a dramatic full-scale examination of a forgotten moment that speaks directly to our own.

    "Important and innovative."--Feminist Bookstore News

    Taking us inside the New Orleans slave market, the largest in the nation, where 100,000 men, women, and children were packaged, priced, and sold, Walter Johnson transforms the statistics of this chilling trade into the human drama of traders, buyers, and slaves, negotiating sales that would alter the life of each. What emerges is not only the brutal economics of trading but the vast and surprising interdependencies among the actors involved.Using recently discovered court records, slaveholders' letters, nineteenth-century narratives of former slaves, and the financial documentation of the trade itself, Johnson reveals the tenuous shifts of power that occurred in the market's slave coffles and showrooms. Traders packaged their slaves by "feeding them up," dressing them well, and oiling their bodies, but they ultimately relied on the slaves to play their part as valuable commodities. Slave buyers stripped the slaves and questioned their pasts, seeking more honest answers than they could get from the traders. In turn, these examinations provided information that the slaves could utilize, sometimes even shaping a sale to their own advantage.Johnson depicts the subtle interrelation of capitalism, paternalism, class consciousness, racism, and resistance in the slave market, to help us understand the centrality of the "peculiar institution" in the lives of slaves and slaveholders alike. His pioneering history is in no small measure the story of antebellum slavery.

    has discovered what he and others believe may be the first novel written by an African-American woman -- a discovery made even more monumental by the fact that it was found in its original manuscript form, completely unedited. Extensive scientific testing has been completed to authenticate the manuscript and ascertain its origins, and experts agree that it was written between 1853 and 1859, by an African-American woman who had previously been enslaved. Gates has painstakingly sought to identify the author, Hannah Crafts, through historical research, and although he has been unsuccessful in determining her true identity, he has found that many of the places, dates, and characters in the novel can be linked reliably to real events and people.A riveting story about a young slave woman on a Southern plantation, The Bondwoman's Narrative follows the title character as she escapes and makes her way to freedom. As a novel, it possesses all the charms and devices of popular mid-19th-century fiction, and the influences of gothic and romantic writers popular in the day are apparent throughout the text. But Crafts accomplishes more than mere mimicry in her book, adding her own voice to established traditions to create a unique style.Throughout the 19th century, many slave narratives -- most notably The Narrative of the Life of Frederick Douglass -- detailed the daily horrors of slavery. In choosing to write a novel rather than an autobiographical narrative, however, Crafts expresses the complete psychological and emotional breadth of the experience, transcending personal, private tortures to illuminate the inhumanity of "the peculiar institution." Her characters reflect upon and feel the experience of enslavement -- and because they are wholly rounded and fully developed, they also express the intellect and insight present in the best writings of Dickens, Poe, or Thoreau.Discovered dallying in her master's portrait gallery by a white housekeeper, who comments that she is "[l]ooking at the pictures...as if such an ignorant thing as you would know any thing about them," the title character poignantly counters to herself, "Ignorance, forsooth. Can ignorance quench the immortal mind or prevent its feeling at times the indications of its heavenly origins? Can it destroy that deep abiding appreciation of the beautiful that seems inherent to the human soul? Can it seal up the fountains of truth and all intuitive perception of life, death, and eternity? I think not. Those to whom man teaches little, nature like a wise and prudent mother teaches much."Regardless of its historical importance -- and the unavoidable questions and controversies about its authenticity -- the literary merits of The Bondwoman's Narrative are clear. A deeply engaging novel told with the clarity of a woman who has endured slavery's sorrows and the creativity of one who, at her core, was a gifted artist, it is a powerful story that leaves the reader simultaneously bereft and exhilarated, one that bears witness to the transcendent power of art. (Ann Kashickey)

    Jones is buried in London’s Highgate Cemetery, to the left of Karl Marx—a location that Boyce Davies finds fitting given how Jones expanded Marxism-Leninism to incorporate gender and race in her political critique and activism.Claudia Cumberbatch Jones was born in Trinidad. In 1924, she moved to New York, where she lived for the next thirty years. She was active in the Communist Party from her early twenties onward. A talented writer and speaker, she traveled throughout the United States lecturing and organizing. In the early 1950s, she wrote a well-known column, “Half the World,” for the Daily Worker. As the U.S. government intensified its efforts to prosecute communists, Jones was arrested several times. She served nearly a year in a U.S. prison before being deported and given asylum by Great Britain in 1955. There she founded The West Indian Gazette and Afro-Asian Caribbean News and the Caribbean Carnival, an annual London festival that continues today as the Notting Hill Carnival. Boyce Davies examines Jones’s thought and journalism, her political and community organizing, and poetry that the activist wrote while she was imprisoned. Looking at the contents of the FBI file on Jones, Boyce Davies contrasts Jones’s own narration of her life with the federal government’s. Left of Karl Marx establishes Jones as a significant figure within Caribbean intellectual traditions, black U.S. feminism, and the history of communism.

    Ford investigates Afros and dashikis, go-go boots and hotpants of the sixties, hip hop's baggy jeans and bamboo earrings, and the #BlackLivesMatter-inspired hoodies of today.The history of these garments is deeply intertwined with Ford’s story as a black girl coming of age in a Midwestern rust belt city. She experimented with the Jheri curl; discovered how wearing the wrong color tennis shoes at the roller rink during the drug and gang wars of the 1980s could get you beaten; and rocked oversized, brightly colored jeans and Timberlands at an elite boarding school where the white upper crust wore conservative wool shift dresses.Dressed in Dreams is a story of desire, access, conformity, and black innovation that explains things like the importance of knockoff culture; the role of “ghetto fabulous” full-length furs and colorful leather in the 1990s; how black girls make magic out of a dollar store t-shirt, rhinestones, and airbrushed paint; and black parents' emphasis on dressing nice. Ford talks about the pain of seeing black style appropriated by the mainstream fashion industry and fashion’s power, especially in middle America. In this richly evocative narrative, she shares her lifelong fashion revolution—from figuring out her own personal style to discovering what makes Midwestern fashion a real thing too.

    In coming to terms with her decision to publicly out her mother, Gail changed how she looks at race and heritage.

      MK Asante was born in Zimbabwe to American parents: a mother who led the new nation’s dance company and a father who would soon become a revered pioneer in black studies. But things fell apart, and a decade later MK was in America, a teenager lost in a fog of drugs, sex, and violence on the streets of North Philadelphia. Now he was alone—his mother in a mental hospital, his father gone, his older brother locked up in a prison on the other side of the country—and forced to find his own way to survive physically, mentally, and spiritually, by any means necessary. Buck is a powerful memoir of how a precocious kid educated himself through the most unconventional teachers—outlaws and eccentrics, rappers and mystic strangers, ghetto philosophers and strippers, and, eventually, an alternative school that transformed his life with a single blank sheet of paper. It’s a one-of-a-kind story about finding your purpose in life, and an inspiring tribute to the power of education, art, and love to heal and redeem us.

    You’re going to have to get a light-skinned husband for the sake of your children as it is.”In these words from her mother, novelist and memoirist Marita Golden learned as a girl that she was the wrong color. Her mother had absorbed “colorism” without thinking about it. But, as Golden shows in this provocative book, biases based on skin color persist–and so do their long-lasting repercussions. Golden recalls deciding against a distinguished black university because she didn’t want to worry about whether she was light enough to be homecoming queen. A male friend bitterly remembers that he was teased about his girlfriend because she was too dark for him. Even now, when she attends a party full of accomplished black men and their wives, Golden wonders why those wives are all nearly white. From Halle Berry to Michael Jackson, from Nigeria to Cuba, from what she sees in the mirror to what she notices about the Grammys, Golden exposes the many facets of "colorism" and their effect on American culture. Part memoir, part cultural history, and part analysis, Don't Play in the Sun also dramatizes one accomplished black woman's inner journey from self-loathing to self-acceptance and pride.