Before the Civil War, masters confined their slaves to their property, while free black people found themselves regularly stopped, questioned, and even kidnapped. Restrictions on movement before Emancipation carried over, in different forms, into Reconstruction and beyond; for most of the 20th century, many white Americans felt blithely comfortable denying their black countrymen the right to travel freely on trains and buses. Yet it became more difficult to shackle someone who was cruising along a highway at 45 miles per hour.In Driving While Black, the acclaimed historian Gretchen Sorin reveals how the car—the ultimate symbol of independence and possibility—has always held particular importance for African Americans, allowing black families to evade the many dangers presented by an entrenched racist society and to enjoy, in some measure, the freedom of the open road. She recounts the creation of a parallel, unseen world of black motorists, who relied on travel guides, black only businesses, and informal communications networks to keep them safe. From coast to coast, mom and pop guest houses and tourist homes, beauty parlors, and even large hotels—including New York’s Hotel Theresa, the Hampton House in Miami, or the Dunbar Hotel in Los Angeles—as well as night clubs and restaurants like New Orleans’ Dooky Chase and Atlanta’s Paschal’s, fed travelers and provided places to stay the night. At the heart of Sorin’s story is Victor and Alma Green’s famous Green Book, a travel guide begun in 1936, which helped grant black Americans that most basic American rite, the family vacation.As Sorin demonstrates, black travel guides and black-only businesses encouraged a new way of resisting oppression. Black Americans could be confident of finding welcoming establishments as they traveled for vacation or for business. Civil Rights workers learned where to stay and where to eat in the South between marches and protests. As Driving While Black reminds us, the Civil Rights Movement was just that—a movement of black people and their allies in defiance of local law and custom. At the same time, she shows that the car, despite the freedoms it offered, brought black people up against new challenges, from segregated ambulance services to unwarranted traffic stops, and the racist violence that too often followed.Interwoven with Sorin’s own family history and enhanced by dozens of little known images, Driving While Black charts how the automobile fundamentally reshaped African American life, and opens up an entirely new view onto one of the most important issues of our time.

    In the wake of rape allegations made against director and actor Nate Parker, Union—a forty-four-year-old actress who launched her career with roles in iconic ’90s movies—instantly became the insightful, outspoken actress that Hollywood has been desperately awaiting. With honesty and heartbreaking wisdom, she revealed her own trauma as a victim of sexual assault: "It is for you that I am speaking. This is real. We are real." In this moving collection of thought provoking essays infused with her unique wisdom and deep humor, Union uses that same fearlessness to tell astonishingly personal and true stories about power, color, gender, feminism, and fame. Union tackles a range of experiences, including bullying, beauty standards, and competition between women in Hollywood, growing up in white California suburbia and then spending summers with her black relatives in Nebraska, coping with crushes, puberty, and the divorce of her parents. Genuine and perceptive, Union bravely lays herself bare, uncovering a complex and courageous life of self-doubt and self-discovery with incredible poise and brutal honesty. Throughout, she compels us to be ethical and empathetic, and reminds us of the importance of confidence, self-awareness, and the power of sharing truth, laughter, and support.

    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.

    As Long As Grass Grows gives readers an accessible history of Indigenous resistance to government and corporate incursions on their lands and offers new approaches to environmental justice activism and policy.Throughout 2016, the Standing Rock protest put a national spotlight on Indigenous activists, but it also underscored how little Americans know about the longtime historical tensions between Native peoples and the mainstream environmental movement. Ultimately, she argues, modern environmentalists must look to the history of Indigenous resistance for wisdom and inspiration in our common fight for a just and sustainable future.

    She tries to remember who she is and where she came from, despite the efforts of the nuns who are in charge at the school and who tell her that she is not to use her own name but instead use the number they have assigned to her. When she goes home for summer holidays, Irene's parents decide never to send her and her brothers away again. But where will they hide? And what will happen when her parents disobey the law? Based on the life of co-author Jenny Kay Dupuis’ grandmother, I Am Not a Number is a hugely necessary book that brings a terrible part of Canada’s history to light in a way that children can learn from and relate to.

    As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these lenses of knowledge together to show that the awakening of a wider ecological consciousness requires the acknowledgment and celebration of our reciprocal relationship with the rest of the living world. For only when we can hear the languages of other beings are we capable of understanding the generosity of the earth, and learning to give our own gifts in return.

    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.

    In this collection, founding members of the organization and contemporary activists reflect on the legacy of its contributions to black feminism and its impact on today's struggles.

    Staceyann's mother did not want her, and her father was not present. No one, except her grandmother, thought Staceyann would survive.It was her grandmother who nurtured and protected and provided for Staceyann and her older brother in the early years. But when the three were separated, Staceyann was thrust, alone, into an unfamiliar and dysfunctional home in Paradise, Jamaica. There, she faced far greater troubles than absent parents. So, armed with a fierce determination and uncommon intelligence, she discovered a way to break out of this harshly unforgiving world.Staceyann Chin, acclaimed and iconic performance artist, now brings her extraordinary talents to the page in a brave, lyrical, and fiercely candid memoir about growing up in Jamaica. She plumbs tender and unsettling memories as she writes about drifting from one home to the next, coming out as a lesbian, and finding the man she believes to be her father and ultimately her voice. Hers is an unforgettable story told with grace, humor, and courage.

    After living in America for over a decade, Eun Ji Koh’s parents return to South Korea for work, leaving fifteen-year-old Eun Ji and her brother behind in California. Overnight, Eun Ji finds herself abandoned and adrift in a world made strange by her mother’s absence. Her mother writes letters, in Korean, over the years seeking forgiveness and love—letters Eun Ji cannot fully understand until she finds them years later hidden in a box.As Eun Ji translates the letters, she looks to history—her grandmother Jun’s years as a lovesick wife in Daejeon, the horrors her grandmother Kumiko witnessed during the Jeju Island Massacre—and to poetry, as well as her own lived experience to answer questions inside all of us. Where do the stories of our mothers and grandmothers end and ours begin? How do we find words—in Korean, Japanese, English, or any language—to articulate the profound ways that distance can shape love? Eun Ji Koh fearlessly grapples with forgiveness, reconciliation, legacy, and intergenerational trauma, arriving at insights that are essential reading for anyone who has ever had to balance love, longing, heartbreak, and joy.The Magical Language of Others weaves a profound tale of hard-won selfhood and our deep bonds to family, place, and language, introducing—in Eun Ji Koh—a singular, incandescent voice.

    An eye-opening, moving book.”— Margot Lee Shetterly, New York Times bestselling author of Hidden FiguresA rising New York Times reporter tells the compelling story of The Compton Cowboys, a group of African-American men and women who defy stereotypes and continue the proud, centuries-old tradition of black cowboys in the heart of one of America’s most notorious cities.A rising New York Times reporter tells the compelling story of The Compton Cowboys, a group of African-American men and women who defy stereotypes and continue the proud, centuries-old tradition of black cowboys in the heart of one of America’s most notorious cities.In Compton, California, ten black riders on horseback cut an unusual profile, their cowboy hats tilted against the hot Los Angeles sun. They are the Compton Cowboys, their small ranch one of the very last in a formerly semirural area of the city that has been home to African-American horse riders for decades. To most people, Compton is known only as the home of rap greats NWA and Kendrick Lamar, hyped in the media for its seemingly intractable gang violence. But in 1988 Mayisha Akbar founded The Compton Jr. Posse to provide local youth with a safe alternative to the streets, one that connected them with the rich legacy of black cowboys in American culture. From Mayisha’s youth organization came the Cowboys of today: black men and women from Compton for whom the ranch and the horses provide camaraderie, respite from violence, healing from trauma, and recovery from incarceration.The Cowboys include Randy, Mayisha’s nephew, faced with the daunting task of remaking the Cowboys for a new generation; Anthony, former drug dealer and inmate, now a family man and mentor, Keiara, a single mother pursuing her dream of winning a national rodeo championship, and a tight clan of twentysomethings--Kenneth, Keenan, Charles, and Tre--for whom horses bring the freedom, protection, and status that often elude the young black men of Compton.  The Compton Cowboys is a story about trauma and transformation, race and identity, compassion, and ultimately, belonging. Walter Thompson-Hernández paints a unique and unexpected portrait of this city, pushing back against stereotypes to reveal an urban community in all its complexity, tragedy, and triumph.The Compton Cowboys is illustrated with 10-15 photographs.

    And it's not just the Arctic. The whole world is changing in dangerous, unpredictable ways. Sheila Watt-Cloutier has devoted her life to protecting what is threatened and nurturing what has been wounded. In this culmination of Watt-Cloutier's regional, national, and international work over the last twenty-five years, The Right to Be Cold explores the parallels between safeguarding the Arctic and the survival of Inuit culture, of which her own background is such an extraordinary example. This is a human story of resilience, commitment, and survival told from the unique vantage point of an Inuk woman who, in spite of many obstacles, rose from humble beginnings in the Arctic to become one of the most influential and decorated environmental, cultural, and human rights advocates in the world.

    A memoir of ideas and perceptions, Bone Black shows the unfolding of female creativity and one strong-spirited child's journey toward becoming a writer. She learns early on the roles women and men play in society, as well as the emotional vulnerability of children. She sheds new light on a society that beholds the joys of marriage for men and condemns anything more than silence for women. In this world, too, black is a woman's color—worn when earned—daughters and daddies are strangers under the same roof, and crying children are often given something to cry about. hooks finds good company in solitude, good company in books. She also discovers, in the motionless body of misunderstanding, that writing is her most vital breath.

    Franchesca Ramsey didn't set out to be an activist. Or a comedian. Or a commentator on identity, race, and culture, really. But then her YouTube video "What White Girls Say. . . to Black Girls" went viral. Twelve million views viral. Faced with an avalanche of media requests, fan letters, and hate mail, she had two choices: Jump in and make her voice heard or step back and let others frame the conversation. After a crash course in social justice and more than a few foot-in-mouth moments, she realized she had a unique talent and passion for breaking down injustice in America in ways that could make people listen and engage.In her first book, Ramsey uses her own experiences as an accidental activist to explore the many ways we communicate with each other—from the highs of bridging gaps and making connections to the many pitfalls that accompany talking about race, power, sexuality, and gender in an unpredictable public space...the internet. Well, That Escalated Quickly includes Ramsey's advice on dealing with internet trolls and low-key racists, confessions about being a former online hater herself, and her personal hits and misses in activist debates with everyone from bigoted Facebook friends and misguided relatives to mainstream celebrities and YouTube influencers. With sharp humor and her trademark candor, Ramsey shows readers we can have tough conversations that move the dialogue forward, rather than backward, if we just approach them in the right way.

    It all began one horrific night in 1993, when Arab raiders swept through her Nuba village, murdering the adults and rounding up thirty-one children, including Mende. Mende was sold to a wealthy Arab family who lived in Sudan's capital city, Khartoum. So began her dark years of enslavement. Her Arab owners called her "Yebit," or "black slave." She called them "master." She was subjected to appalling physical, sexual, and mental abuse. She slept in a shed and ate the family leftovers like a dog. She had no rights, no freedom, and no life of her own. Normally, Mende's story never would have come to light. But seven years after she was seized and sold into slavery, she was sent to work for another master—a diplomat working in the United Kingdom. In London, she managed to make contact with other Sudanese, who took pity on her. In September 2000, she made a dramatic break for freedom.Slave is a story almost beyond belief. It depicts the strength and dignity of the Nuba tribe. It recounts the savage way in which the Nuba and their ancient culture are being destroyed by a secret modern-day trade in slaves. Most of all, it is a remarkable testimony to one young woman's unbreakable spirit and tremendous courage.