The Green Book listed hotels, restaurants, gas stations, and other businesses that were safe for black travelers. It was a resourceful and innovative solution to a horrific problem. It took courage to be listed in the Green Book, and Overground Railroad celebrates the stories of those who put their names in the book and stood up against segregation. It shows the history of the Green Book, how we arrived at our present historical moment, and how far we still have to go when it comes to race relations in America.

    He argues this destruction will continue until Americans learn to heal the generational anguish of white supremacy, which is deeply embedded in all our bodies. Our collective agony doesn't just affect African Americans. White Americans suffer their own secondary trauma as well. So do blue Americans—our police.My Grandmother's Hands is a call to action for all of us to recognize that racism is not about the head, but about the body, and introduces an alternative view of what we can do to grow beyond our entrenched racialized divide.This book paves the way for a new, body-centered understanding of white supremacy—how it is literally in our blood and our nervous system. It offers a step-by-step solution—a healing process—in addition to incisive social commentary.Resmaa Menakem, MSW, LICSW, is a therapist with decades of experience currently in private practice in Minneapolis, MN, specializing in trauma, body-centered psychotherapy, and violence prevention. He has appeared on the Oprah Winfrey Show and Dr. Phil as an expert on conflict and violence. Menakem has studied with bestselling authors Dr. David Schnarch (Passionate Marriage) and Dr. Bessel van der Kolk (The Body Keeps the Score). He also trained at Peter Levine's Somatic Experiencing Trauma Institute.

    Addressing his fifteen-year-old namesake on the one hundredth anniversary of the Emancipation Proclamation, Baldwin wrote: “You know and I know, that the country is celebrating one hundred years of freedom one hundred years too soon.”Award-winning author Jesmyn Ward knows that Baldwin’s words ring as true as ever today. In response, she has gathered short essays, memoir, and a few essential poems to engage the question of race in the United States. And she has turned to some of her generation’s most original thinkers and writers to give voice to their concerns.The Fire This Time is divided into three parts that shine a light on the darkest corners of our history, wrestle with our current predicament, and envision a better future. Of the eighteen pieces, ten were written specifically for this volume.In the fifty-odd years since Baldwin’s essay was published, entire generations have dared everything and made significant progress. But the idea that we are living in the post-Civil Rights era, that we are a “postracial” society, is an inaccurate and harmful reflection of a truth the country must confront. Baldwin’s “fire next time” is now upon us, and it needs to be talked about.

    . . . Ammons makes you laugh and forces you to think hard about the way humans relate to natural phenomena and to themselves. From such simple, short expression emerge complex, often confounding ideas. New readers of poetry as well as those with an active interest in lyric verse will love this volume.”—Booklist

    From the #1 bestselling, award–winning team behind March comes the first book in their new, groundbreaking graphic novel series, Run: Book One “In sharing my story, it is my hope that a new generation will be inspired by Run to actively participate in the democratic process and help build a more perfect Union here in America.” –Congressman John LewisThe sequel to the #1 New York Times bestselling graphic novel series March—the continuation of the life story of John Lewis and the struggles seen across the United States after the Selma voting rights campaign.To John Lewis, the civil rights movement came to an end with the signing of the Voting Rights Act in 1965. But that was after more than five years as one of the preeminent figures of the movement, leading sit–in protests and fighting segregation on interstate busways as an original Freedom Rider. It was after becoming chairman of SNCC (the Student Nonviolent Coordinating Committee) and being the youngest speaker at the March on Washington. It was after helping organize the Mississippi Freedom Summer and the ensuing delegate challenge at the 1964 Democratic National Convention. And after coleading the march from Selma to Montgomery on what became known as “Bloody Sunday.” All too often, the depiction of history ends with a great victory. But John Lewis knew that victories are just the beginning. In Run: Book One, John Lewis and longtime collaborator Andrew Aydin reteam with Nate Powell—the award–winning illustrator of the March trilogy—and are joined by L. Fury—making an astonishing graphic novel debut—to tell this often overlooked chapter of civil rights history.

    The collection's eponymous poem, Harlem Shadows, portrays the struggle of sex workers in 1920s Harlem. In If We Must Die, McKay calls for justice and retribution for Black people in the face of racist abuse.Juxtaposing the cruel noise of New York City with the serene beauties of Jamaica, McKay urges us to reckon with the oppression that plagues a long-suffering race, which he argues has no home in a white man's world. Poems of Blackness, queerness, desire, performance, and love are infused with a radical message of resistance in this sonorous cry for universal human rights. Simultaneously a love letter to the spirit of New York City and a list of grievances with its harsh cruelty, Harlem Shadows is a stunning collection that remains all too relevant one hundred years after its original publication.

    As Octavio Paz writes in the afterword, “Eliot Weinberger’s commentary on the successive translations of Wang Wei’s little poem illustrates, with succinct clarity, not only the evolution of the art of translation in the modern period but at the same time the changes in poetic sensibility.”

    It is thinking through a vision, a strategy, and then figuring out who your targets are, always being concerned about power, always being concerned about how you're going to actually build power in order to be able to push your issues, in order to be able to get the target to actually move in the way that you want to."What if social transformation and liberation isn't about waiting for someone else to come along and save us? What if ordinary people have the power to collectively free ourselves? In this timely collection of essays and interviews, Mariame Kaba reflects on the deep work of abolition and transformative political struggle.With chapters on seeking justice beyond the punishment system, transforming how we deal with harm and accountability, and finding hope in collective struggle for abolition, Kaba's work is deeply rooted in the relentless belief that we can fundamentally change the world. As Kaba writes, "Nothing that we do that is worthwhile is done alone."

    “We don’t see color.” “I didn’t know Black people liked Star Wars!” “What hood are you from?” For Frederick Joseph, life in a mostly white high school as a smart and increasingly popular transfer student was full of wince-worthy moments that he often simply let go. As he grew older, however, he saw these as missed opportunities not only to stand up for himself, but to spread awareness to the white friends and acquaintances who didn’t see the negative impact they were having and who would change if they knew how.Speaking directly to the reader, The Black Friend calls up race-related anecdotes from the author’s past, weaving in his thoughts on why they were hurtful and how he might handle things differently now. Each chapter includes the voice of at least one artist or activist, including Tarell Alvin McCraney, screenwriter of Moonlight; April Reign, creator of #OscarsSoWhite; Angie Thomas, author of The Hate U Give; and eleven others. Touching on everything from cultural appropriation to power dynamics, “reverse racism” to white privilege, microaggressions to the tragic results of overt racism, this book serves as conversation starter, tool kit, and invaluable window into the life of a former “token Black kid” who now presents himself as the friend many of us need. Back matter includes an encyclopedia of racism, providing details on relevant historical events, terminology, and more.

    The force of her thought is evident everywhere in these essays, from her explorations of other poets' work to her skeptical contemplation of current literary critical notions such as "sincerity" and "courage." Here also are Glück's revealing reflections on her own education and life as a poet, and a tribute to her teacher and mentor, Stanley Kunitz. Proofs and Theories is not a casual collection. It is the testament of a major poet.

    The Second is neither a “pro-gun” nor an “anti-gun” book; the lens is the citizenship rights and human rights of African Americans.From the seventeenth century, when it was encoded into law that the enslaved could not own, carry, or use a firearm whatsoever, until today, with measures to expand and curtail gun ownership aimed disproportionately at the African American population, the right to bear arms has been consistently used as a weapon to keep African Americans powerless—revealing that armed or unarmed, Blackness, it would seem, is the threat that must be neutralized and punished.Throughout American history to the twenty-first century, regardless of the laws, court decisions, and changing political environment, the Second has consistently meant this: That the second a Black person exercises this right, the second they pick up a gun to protect themselves (or the second that they don't), their life—as surely as Philando Castile's, Tamir Rice's, Alton Sterling's--may be snatched away in that single, fatal second. Through compelling historical narrative merging into the unfolding events of today, Anderson's penetrating investigation shows that the Second Amendment is not about guns but about anti-Blackness, shedding shocking new light on another dimension of racism in America.

    The daughter of a black mother and white father, a student of history and of the Deep South, she is inspired by everything from colonial paintings of mulattos and mestizos to the stories of people forgotten by history. Meditations on captivity, knowledge, and inheritance permeate Thrall, as she reflects on a series of small estrangements from her poet father and comes to an understanding of how, as father and daughter, they are part of the ongoing history of race in America.Thrall confirms not only that Natasha Trethewey is one of our most gifted and necessary poets but that she is also one of our most brilliant and fearless.

    The act of possessing black skin while searching for space to breathe in America is enough to induce a ceaseless state of angst where questions such as “How should I react here, as a professional black person?” and “Will this white person’s potato salad kill me?” are forever relevant.What Doesn’t Kill You Makes You Blacker chronicles Young’s efforts to survive while battling and making sense of the various neuroses his country has given him.It’s a condition that’s sometimes stretched to absurd limits, provoking the angst that made him question if he was any good at the “being straight” thing, as if his sexual orientation was something he could practice and get better at, like a crossover dribble move or knitting; creating the farce where, as a teen, he wished for a white person to call him a racial slur just so he could fight him and have a great story about it; and generating the surreality of watching gentrification transform his Pittsburgh neighborhood from predominantly Black to “Portlandia . . . but with Pierogies.”  And, at its most devastating, it provides him reason to believe that his mother would be alive today if she were white.From one of our most respected cultural observers, What Doesn’t Kill You Makes You Blacker is a hilarious and honest debut that is both a celebration of the idiosyncrasies and distinctions of Blackness and a critique of white supremacy and how we define masculinity.

    The street corners are full of gangs, the hallways of his apartment complex are haunted by junkies he calls “zombies” with strung out arms, clutching at him as he passes by. His mother is a recovering addict, and his three siblings all sleep in a one room apartment, a small infantry against the war zone on the street below.Arshay keeps to himself, preferring to write poetry about the girl he has a crush on, and spends his school days in the home-ec kitchen dreaming of becoming a chef. And then one day as he’s walking out of school he notices a boats in the school lunchroom, and a poster that reads “Join the Crew Team”.Having no idea what the sport of crew is, Arshay decides to take a chance. This decision to join is one that will forever change his life, and those of his fellow teammates. As Arshay and his teammates begin to come together to learn how to row--many never having been in water before--the sport takes them from the mean streets of Chicago, to the hallowed halls of the Ivy League. But Arshay and his teammates face adversity at every turn, from racism, gang violence, and a sport that has never seen anyone like them before.A Most Beautiful Thing is the inspiring true story about the most unlikely band of brothers that form a family, and forever change a sport and their lives for the better.

    Amid growing awareness of police violence, individual Black men including Michael Brown, Eric Garner, Philando Castile, and Freddie Gray have been the focus of most media-driven narratives. Yet Black women, Indigenous women, and other women of color also face daily police violence. Invisible No More places the individual stories of women and girls such as Sandra Bland, Dajerria Becton, Mya Hall, and Rekia Boyd into broader contexts, centering women of color within conversations around the twin epidemics of police violence and mass incarceration. Invisible No More also documents the evolution of a movement for justice for women of color targeted by police that has been building for decades, largely in the shadows of mainstream campaigns for racial justice and police accountability. Informed by twenty years of research and advocacy by Black lesbian immigrant and police-misconduct attorney Andrea Ritchie, this groundbreaking work demands a sea change in how police violence is understood by mainstream media, policymakers, academics, and the general public, as well as a radical rethinking of our visions of safety and the means we devote to achieving it."