They also reflect his conviction that black people in South Africa could not be liberated until they united to break their chains of servitude, a key tenet of the Black Consciousness movement that he helped found.I Write What I Like contains a selection of Biko's writings from 1969, when he became the president of the South African Students' Organization, to 1972, when he was prohibited from publishing. The collection also includes a preface by Archbishop Desmond Tutu; an introduction by Malusi and Thoko Mpumlwana, who were both involved with Biko in the Black Consciousness movement; a memoir of Biko by Father Aelred Stubbs, his longtime pastor and friend; and a new foreword by Professor Lewis Gordon.Biko's writings will inspire and educate anyone concerned with issues of racism, postcolonialism, and black nationalism.

    The text asserts that the praise and honor blindly given to the Greeks for centuries rightfully belong to the people of Africa, and argues that the theft of this great African legacy led to the erroneous world opinion that the African continent has made no contribution to civilization. Quoting such celebrated Greek scholars as Herodotus, Hippocrates, Aristotle, Thales, and Pythagoras, who admit to the influence of Egyptian studies in their work, this edition sheds new light on traditional philosophical and historical thought. Originally published in 1954, this book features a new introduction.

    2, 1965.

    Here is the most recent scholarship on the geographic, social, ethnic, economic, and cultural journey of "the other Americans, " together with vital portraits of black pioneers and seminal figures in the struggle for freedom, as well as additional material on historical developments in the Reagan, Bush, and Clinton years.

    The conflict was infamous for its savage impact on the Biafran people, Chinua Achebe’s people, many of whom were starved to death after the Nigerian government blockaded their borders. By then, Chinua Achebe was already a world-renowned novelist, with a young family to protect. He took the Biafran side in the conflict and served his government as a roving cultural ambassador, from which vantage he absorbed the war’s full horror. Immediately after, Achebe took refuge in an academic post in the United States, and for more than forty years he has maintained a considered silence on the events of those terrible years, addressing them only obliquely through his poetry. Now, decades in the making, comes a towering reckoning with one of modern Africa’s most fateful events, from a writer whose words and courage have left an enduring stamp on world literature.Achebe masterfully relates his experience, both as he lived it and how he has come to understand it. He begins his story with Nigeria’s birth pangs and the story of his own upbringing as a man and as a writer so that we might come to understand the country’s promise, which turned to horror when the hot winds of hatred began to stir. To read There Was a Country is to be powerfully reminded that artists have a particular obligation, especially during a time of war. All writers, Achebe argues, should be committed writers—they should speak for their history, their beliefs, and their people.Marrying history and memoir, poetry and prose, There Was a Country is a distillation of vivid firsthand observation and forty years of research and reflection. Wise, humane, and authoritative, it will stand as definitive and reinforce Achebe’s place as one of the most vital literary and moral voices of our age.

    Kendi, author of the number one bestseller How To Be an Antiracist, and fellow historian Keisha N. Blain, Four Hundred Souls begins with the arrival of twenty enslaved Ndongo people on the shores of the British colony in mainland America in 1619, the year before the arrival of the Mayflower. In eighty chronological chapters, the book charts the tragic and triumphant four-hundred-year history of Black American experience in a choral work of exceptional power and beauty. Contributors include some of the best-known scholars, writers, historians, journalists, lawyers, poets and activists of contemporary America who together bring to vivid life countless new facets to the drama of slavery and resistance, segregation and survival, migration and self-discovery, cultural oppression and world-changing artistic, literary and musical creativity. In these pages are dozens of extraordinary lives and personalities, rescued from the archives and restored to their rightful place in America's narrative, as well as the ghosts of millions more.Four Hundred Souls is an essential work of story-telling and reclamation that redefines America and changes our notion of how history is written.

    At once a powerful evocation of James Baldwin’s early life in Harlem and a disturbing examination of the consequences of racial injustice, the book is an intensely personal and provocative document. It consists of two “letters,” written on the occasion of the centennial of the Emancipation Proclamation, that exhort Americans, both black and white, to attack the terrible legacy of racism. Described by The New York Times Book Review as “sermon, ultimatum, confession, deposition, testament, and chronicle…all presented in searing, brilliant prose,” The Fire Next Time stands as a classic of our literature.

    The Language of African Literature2. The Language of African Theatre3. The Language of African Fiction4. The Quest for RelevanceIndex

    It took ten years and a half a million miles of travel across three continents to find it, but finally, in an astonishing feat of genealogical detective work, he discovered not only the name of "the African"—Kunta Kinte—but the precise location of Juffure, the very village in The Gambia, West Africa, from which he was abducted in 1767 at the age of sixteen and taken on the Lord Ligonier to Maryland and sold to a Virginia planter.Haley has talked in Juffure with his own African sixth cousins. On September 29, 1967, he stood on the dock in Annapolis where his great-great-great-great-grandfather was taken ashore on September 29, 1767. Now he has written the monumental two-century drama of Kunta Kinte and the six generations who came after him—slaves and freedmen, farmers and blacksmiths, lumber mill workers and Pullman porters, lawyers and architects—and one author.But Haley has done more than recapture the history of his own family. As the first black American writer to trace his origins back to their roots, he has told the story of 25,000,000 Americans of African descent. He has rediscovered for an entire people a rich cultural heritage that slavery took away from them, along with their names and their identities. But Roots speaks, finally, not just to blacks, or to whites, but to all people and all races everywhere, for the story it tells is one of the most eloquent testimonials ever written to the indomitability of the human spirit.

    Here are four of the most notable narratives: The Life of Olaudah Equiano; The History of Mary Prince; Narrative of the Life of Frederick Douglass; and Incidents in the Life of Slave Girl.

    In early 1787, twelve men - a printer, a lawyer, a clergyman, and others united by their hatred of slavery - came together in a London printing shop and began the world's first grass-roots movement, battling for the rights of people on another continent. Masterfully stoking public opinion, the movement's leaders pioneered a variety of techniques that have been adopted by citizens' movements ever since, from consumer boycotts to wall posters and lapel buttons to celebrity endorsements. A deft chronicle of this groundbreaking antislavery crusade and its powerful enemies, Bury the Chains gives a little-celebrated human rights watershed its due at last.

    It sets forth, in fascinating detail, the history, from earliest recorded times, of the black races of the Middle East and Africa.

    In this short period of time, his vision for abolishing racial inequality in the United States underwent a vast transformation. Breaking from the Black Muslims, he moved away from the black militarism prevalent in his earlier years only to be shot down by an assassin's bullet.

    It is the story of the French colony of San Domingo, a place where the brutality of master toward slave was commonplace and ingeniously refined. And it is the story of a barely literate slave named Toussaint L'Ouverture, who led the black people of San Domingo in a successful struggle against successive invasions by overwhelming French, Spanish, and English forces and in the process helped form the first independent nation in the Caribbean.

    Marxist analyses tend to presuppose European models of history and experience that downplay the significance of Black people and Black communities as agents of change and resistance. Black radicalism, Robinson argues, must be linked to the traditions of Africa and the unique experiences of Blacks on Western continents, and any analyses of African American history need to acknowledge this. To illustrate his argument, Robinson traces the emergence of Marxist ideology in Europe, the resistance by Blacks in historically oppressive environments, and the influence of both of these traditions on such important twentieth-century Black radical thinkers as W. E. B. Du Bois, C. L. R. James, and Richard Wright. This revised and updated third edition includes a new preface by Tiffany Willoughby-Herard, and a new foreword by Robin D. G. Kelley.