A young black girl longing for the blue eyes of white baby dolls spirals into inferiority and confusion. A friendship falls apart over a disputed memory. An ex-slave is haunted by a lonely, rebukeful ghost, bent on bringing their past home. Strange and unexpected, yet always stirring, Morrison’s writing on race sinks us deep into the heart and mind of our troubled humanity.Includes selections from the books Song of Solomon, The Bluest Eye, Beloved by Toni MorrisonVINTAGE MINIS: GREAT MINDS. BIG IDEAS. LITTLE BOOKS.A series of short books by the world’s greatest writers on the experiences that make us humanFor the full list of books visit vintageminis.co.ukAlso in the Vintage Minis series:Sisters by Louisa May AlcottLove by Jeanette WintersonBabies by Anne EnrightLanguage by Xiaolu Guo

    When George and Sabine Harwood arrive in Trinidad from England, George is immediately seduced by the beguiling island, while Sabine feels isolated, heat-fatigued, and ill-at-ease. As they adapt to new circumstances, their marriage endures for better or worse, despite growing political unrest and racial tensions that affect their daily lives. But when George finds a cache of letters that Sabine has hidden from him, the discovery sets off a devastating series of consequences as other secrets begin to emerge.

    Comparing ruthless 20th-century prospectors to the long-ago Spanish explorers who raped a continent in their quest for El Dorado, the novel follows the dreams and delusions of Aron Smart, a youth orphaned early in life and brought up on a farm by his grandparents who impressed upon him the value of an education. When Aron’s schooling is cut short after a reversal of fortune, however, he becomes deeply discouraged by his lack of opportunity and decides to follow in his father’s footsteps as a diamond prospector. He quickly becomes very rich—his companions in the mines call him “Shark”—and he is determined to use his new wealth to buy his way into the middle class. But Aron is out of his element in the world of property and prestige, and, cheated of his fortune, he returns to the interior, mining with a reckless madness that leaves him terribly maimed in an accident—and causes him to dream of returning to his grandfather’s life, built on the solid rhythms of farming and caring for the land.

    Her characters, already marginalized economically and socially, confront what many perceive as an invading outside culture, enduring and at times transcending the loss of their "place," both literally and figuratively. Their stories undermine the assumption that just because people don't articulate what happens inside them, nothing much is happening at all.

    In Canada, the Caribbean, and the United States, black women inhabit diasporic locations marked by the legacy of violence and slavery. Analyzing diverse literatures and material geographies, McKittrick reveals how human geographies are a result of racialized connections, and how spaces that are fraught with limitation are underacknowledged but meaningful sites of political opposition. Demonic Grounds moves between past and present, archives and fiction, theory and everyday, to focus on places negotiated by black women during and after the transatlantic slave trade. Specifically, the author addresses the geographic implications of slave auction blocks, Harriet Jacobs’s attic, black Canada and New France, as well as the conceptual spaces of feminism and Sylvia Wynter’s philosophies. Central to McKittrick’s argument are the ways in which black women are not passive recipients of their surroundings and how a sense of place relates to the struggle against domination. Ultimately, McKittrick argues, these complex black geographies are alterable and may provide the opportunity for social and cultural change. Katherine McKittrick is assistant professor of women’s studies at Queen’s University.

    From science to public policy, the "culture of poverty" to overpopulation, feminism to Puerto Rican nationalism, this book uncovers the persistence of concerns about motherhood, prostitution, and family in shaping the beliefs and practices of virtually every player in the twentieth-century drama of Puerto Rican colonialism. In this way, it sheds light on the legacies haunting contemporary debates over globalization.Puerto Rico is a perfect lens through which to examine colonialism and globalization because for the past century it has been where the United States has expressed and fine-tuned its attitudes toward its own expansionism. Puerto Rico's history holds no simple lessons for present-day debate over globalization but does unearth some of its history. Reproducing Empire suggests that interventionist discourses of rescue, family, and sexuality fueled U.S. imperial projects and organized American colonialism.Through the politics, biology, and medicine of eugenics, prostitution, and birth control, the United States has justified its presence in the territory's politics and society. Briggs makes an innovative contribution to Puerto Rican and U.S. history, effectively arguing that gender has been crucial to the relationship between the United States and Puerto Rico, and more broadly, to U.S. expansion elsewhere.

    Anzaldúa and AnaLouise Keating have brought together an ambitious new collection of over 80 original contributions offering a bold new vision of women-of-color consciousness for the 21st century.Through personal narratives, theoretical essays, textual collage, poetry, letters, artwork and fiction, this bridge we call home examines and extends the discussion of issues at the center of the first Bridge, such as classism, homophobia, racism, identity politics, and community building, while exploring the additional issues of third wave feminism, Native sovereignty, lesbian pregnancy and mothering, transgendered issues, Arab-American stereotyping, Jewish identities, spiritual activism, and surviving academe. Written by women and men---both 'of color' and 'white,' located inside and outside the United States---and motivated by a desire for social justice, this bridge we call home invites feminists of all colors and genders to develop new forms of transcultural dialogues, practices, and alliances.Building on and pushing forward the revolutionary call for transformation announced over two decades ago, this bridge we call home will challenge readers to rethink existing categories and invent new individual and collective identities.

    Born of extreme racial and class conflicts, the blackface minstrel show sometimes usefully intensified them. Based on the appropriation of black dialect, music, and dance, minstrelsy at once applauded and lampooned black culture, ironically contributing to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery.

    Her dream comes true, though not before she suffers a devastating loss—one that will haunt her for years, and one that also deeply affects Janice, an American aid worker who no longer feels she has a place to call home. But the bustling Precious Brother Salon is not just the "cleanest, friendliest, and most welcoming in the city." It's also where locals catch up on their gossip; where Comfort, an imperious busybody, can complain about her American daughter-in-law, Linda; and where Adjoa can get a fresh start on life—or so she thinks, until Janice moves to Ghana and unexpectedly stumbles upon the salon.At once deeply moving and utterly charming, The Civilized World follows five women as they face meddling mothers-in-law, unfaithful partners, and the lingering aftereffects of racism, only to learn that their cultural differences are outweighed by their common bond as women. With vibrant prose, Susi Wyss explores what it means to need forgiveness—and what it means to forgive.

    Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.

    I forget things too. It makes me sad. Or it makes me the saddest. The sadness is not really about George W. or our American optimism; the sadness lives in the recognition that a life cannot matter.The award-winning poet Claudia Rankine, well known for her experimental multigenre writing, fuses the lyric, the essay, and the visual in this politically and morally fierce examination of solitude in the rapacious and media-driven assault on selfhood that is contemporary America. With wit and intelligence, Rankine strives toward an unprecedented clarity-of thought, imagination, and sentence-making-while arguing that recognition of others is the only salvation for ourselves, our art, and our government.Don't Let Me Be Lonely is an important new confrontation with our culture, with a voice at its heart bewildered by its inadequacy in the face of race riots, terrorist attacks, medicated depression, and the antagonism of the television that won't leave us alone.

    This story of a woman imprisoned in an asylum by her abusive husband offers a powerful indictment of women's lowly status in eighteenth-century England.

    We see her on a visit to Jamaica, startled by the sight of a severed pig’s head in her great aunt’s freezer; in junior high, the victim of a devastating prank by her closest friends; and as a teenager in and out of her grandmother’s house, trying to cope with the ongoing battles between her unyielding grandparents.A rich and unforgettable portrait of growing up between worlds, Frying Plantain shows how, in one charged moment, friendship and love can turn to enmity and hate, well-meaning protection can become control, and teasing play can turn to something much darker. In her brilliantly incisive debut, Zalika Reid-Benta artfully depicts the tensions between mothers and daughters, second-generation Canadians and first-generation cultural expectations, and Black identity and predominately white society.

    Being reunited with her parents and the siblings she has never met does not end her problems, and she realizes she must must fight her family and take control of her own life in order to recover from abuse and take pride in her self. Originally published as Gwendolen.

    Pao needs to take care of some dirty business, but he is no Don Corleone. The rackets he runs are small-time, and the protection he provides necessary, given the minority status of the Chinese in Jamaica. Pao, in fact, is a sensitive guy in a wise guy role that doesn't quite fit. Often mystified by all that he must take care of, Pao invariably turns to Sun Tzu's Art of War. The juxtaposition of the weighty, aphoristic words of the ancient Chinese sage, with the tricky criminal and romantic predicaments Pao must negotiate builds the basis of the novel's great charm. A tale of post-colonial Jamaica from a unique and politically potent perspective, Pao moves from the last days of British rule through periods of unrest at social and economic inequality, through tides of change that will bring about Rastafarianism and the Back to Africa Movement. Pao is an utterly beguiling, unforgettable novel of race, class and creed, love and ambition, and a country in the throes of tumultuous change. Kerry Young was born in Kingston, Jamaica, to a Chinese-African mother and a Chinese father-a businessman in Kingston's shadow economy who provided inspiration for Pao. Young moved to England in 1965 at the age of ten. She earned her MA in creative writing at Nottingham Trent University. This is her first novel.