It is a book to be deeply cherished and to be read and pondered many times.”—Wilbur Zelinsky, Landscape “While it is fashionable to speak of man as alienated from his environment, Mr. Jackson shows us all the ties that bind us to it, consciously or unconsciously. He teaches us to speak intelligently—rather than polemically or wistfully—of the sense of place.”—Anatole Broyard, New York Times“This book is a vital and seminal text: do beg, borrow or buy it.”—Robert Holden, Landscape Design (London)“Incisive and overpoweringly influential. It will probably tell you something about how you live that you’ve never thought about.”—Thomas Hine, The Philadelphia Inquirer “No one can come close to Jackson in his unique combination of historical scholarship and field experience, in his deep knowledge of European high culture as well as of American trailer parks, in his archivist’s nose for the unusual fact and his philosopher’s mind for the trenchant, surprising question.”—Yi-Fu Tuan

    Now, it's time to get into the game and help your family through your baby's first year.From 4 A.M. feedings and visiting the pediatrician to getting back to work and hopping into bed with Mom, Dude, You're a Dad leads you through all the trials and tribulations you'll face as a new dad. Author John Pfeiffer has braved the journey not just once but three times, and will tell you exactly what changes to expect as well as what you can be doing for your baby--and your baby mama--during this time. Complete with foolproof parenting strategies for handling tricky situations, this book also braces you for the years to come, which will be full of head banging, temper tantrums, and restless days.The first twelve months are make-or-break when it comes to parenting and Dude, You're a Dad is your guide to making sure that nothing gets broken.

    But just who was this remarkable woman? To John Brown, leader of the Harper's Ferry slave uprising, she was General Tubman. For the many slaves she led north to freedom, she was Moses. To the slaveholders who sought her capture, she was a thief and a trickster. To abolitionists, she was a prophet.Now, in a biography widely praised for its impeccable research and its compelling narrative, Harriet Tubman is revealed for the first time as a singular and complex character, a woman who defied simple categorization."A thrilling reading experience. It expands outward from Tubman's individual story to give a sweeping, historical vision of slavery." --NPR's Fresh Air

    This sympathetic yet evenhanded book records for the first time the complete story of SNCC's evolution, of its successes and its difficulties in the ongoing struggle to end white oppression.At its birth, SNCC was composed of black college students who shared an ideology of moral radicalism. This ideology, with its emphasis on nonviolence, challenged Southern segregation. SNCC students were the earliest civil rights fighters of the Second Reconstruction. They conducted sit-ins at lunch counters, spearheaded the freedom rides, and organized voter registration, which shook white complacency and awakened black political consciousness. In the process, Clayborne Carson shows, SNCC changed from a group that endorsed white middle-class values to one that questioned the basic assumptions of liberal ideology and raised the fist for black power. Indeed, SNCC's radical and penetrating analysis of the American power structure reached beyond the black community to help spark wider social protests of the 1960s, such as the anti-Vietnam War movement.Carson's history of SNCC goes behind the scene to determine why the group's ideological evolution was accompanied by bitter power struggles within the organization. Using interviews, transcripts of meetings, unpublished position papers, and recently released FBI documents, he reveals how a radical group is subject to enormous, often divisive pressures as it fights the difficult battle for social change.

    In setting up his household he took Tobias Lear, his celebrated secretary, and nine slaves, including Ona Judge, about which little has been written. As he grew accustomed to Northern ways, there was one change he couldn’t get his arms around: Pennsylvania law required enslaved people be set free after six months of residency in the state. Rather than comply, Washington decided to circumvent the law. Every six months he sent the slaves back down south just as the clock was about to expire.Though Ona Judge lived a life of relative comfort, the few pleasantries she was afforded were nothing compared to freedom, a glimpse of which she encountered first-hand in Philadelphia. So, when the opportunity presented itself one clear and pleasant spring day in Philadelphia, Judge left everything she knew to escape to New England. Yet freedom would not come without its costs.At just twenty-two-years-old, Ona became the subject of an intense manhunt led by George Washington, who used his political and personal contacts to recapture his property.Impeccably researched, historian Erica Armstrong Dunbar weaves a powerful tale and offers fascinating new scholarship on how one young woman risked it all to gain freedom from the famous founding father.

    But in her speech she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. Inspired by these few words, Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt—has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance.Abdurraqib writes prose brimming with jubilation and pain, infused with the lyricism and rhythm of the musicians he loves. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space—from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio.

    His murder was part of a wave of white terrorism in the wake of the 1954 Supreme Court decision that declared public school segregation unconstitutional. Only weeks later, Rosa Parks thought about young Emmett as she refused to move to the back of a city bus in Montgomery, Alabama. Five years later, Black students who called themselves “the Emmett Till generation” launched sit-in campaigns that turned the struggle for civil rights into a mass movement. Till’s lynching became the most notorious hate crime in American history.But what actually happened to Emmett Till—not the icon of injustice, but the flesh-and-blood boy? Part detective story, part political history, drawing on a wealth of new evidence, including a shocking admission of Till’s innocence from the woman in whose name he was killed. this book provides fresh insight into the way race has informed and deformed our democratic institutions.

    Now, a new generation is pursuing success, happiness, and freedom -- on their own terms. In It Was All a Dream, Reniqua Allen tells the stories of Black millennials searching for a better future in spite of racist policies that have closed off traditional versions of success. Many watched their parents and grandparents play by the rules, only to sink deeper and deeper into debt. They witnessed their elders fight to escape cycles of oppression for more promising prospects, largely to no avail. Today, in this post-Obama era, they face a critical turning point. Interweaving her own experience with those of young Black Americans in cities and towns from New York to Los Angeles and Bluefield, West Virginia to Chicago, Allen shares surprising stories of hope and ingenuity. Instead of accepting downward mobility, Black millennials are flipping the script and rejecting White America's standards. Whether it means moving away from cities and heading South, hustling in the entertainment industry, challenging ideas about gender and sexuality, or building activist networks, they are determined to forge their own path. Compassionate and deeply reported, It Was All a Dream is a celebration of a generation's doggedness against all odds, as they fight for a country in which their dreams can become a reality.

    Beginning with Ida B. Wells and the campaign against lynching in the 1890s, Fairclough chronicles the tradition of protest that led to the formation of the NAACP, Booker T. Washington and the strategy of accommodation, Marcus Garvey and the push for black nationalism, through to Martin Luther King, Jr., and the Civil Rights Movement of the 1960s and beyond. Throughout, Fairclough presents a judicious interpretation of historical events that balances the achievements of the Civil Rights Movement against the persistence of racial and economic inequalities.

    We are brought closer than we have ever been to the great ballplayer, a man of courage and quality who became a pivotal figure in the areas of race and civil rights.Born in the rural South, the son of a sharecropper, Robinson was reared in southern California. We see him blossom there as a student-athlete as he struggled against poverty and racism to uphold the beliefs instilled in him by his mother--faith in family, education, America, and God. We follow Robinson through World War II, when, in the first wave of racial integration in the armed forces, he was commissioned as an officer, then court-martialed after refusing to move to the back of a bus. After he plays in the Negro National League, we watch the opening of an all-American drama as, late in 1945, Branch Rickey of the Brooklyn Dodgers recognized Jack as the right player to break baseball's color barrier--and the game was forever changed.Jack's never-before-published letters open up his relationship with his family, especially his wife, Rachel, whom he married just as his perilous venture of integrating baseball began. Her memories are a major resource of the narrative as we learn about the severe harassment Robinson endured from teammates and opponents alike; about death threats and exclusion; about joy and remarkable success. We watch his courageous response to abuse, first as a stoic endurer, then as a fighter who epitomized courage and defiance.We see his growing friendship with white players like Pee Wee Reese and the black teammates who followed in his footsteps, and his embrace by Brooklyn's fans. We follow his blazing career: 1947, Rookie of the Year; 1949, Most Valuable Player; six pennants in ten seasons, and 1962, induction into the Hall of Fame. But sports were merely one aspect of his life. We see his business ventures, his leading role in the community, his early support of Martin Luther King Jr., his commitment to the civil rights movement at a crucial stage in its evolution; his controversial associations with Eisenhower, Kennedy, Nixon, Humphrey, Goldwater, Nelson Rockefeller, and Malcolm X.Rampersad's magnificent biography leaves us with an indelible image of a principled man who was passionate in his loyalties and opinions: a baseball player who could focus a crowd's attention as no one before or since; an activist at the crossroads of his people's struggle; a dedicated family man whose last years were plagued by illness and tragedy, and who died prematurely at fifty-two. He was a pathfinder, an American hero, and he now has the biography he deserves.From the Hardcover edition.

    His works—among them Taliesin North, Taliesin West, Fallingwater, the Johnson Wax buildings, the Guggenheim Museum—earned him a good measure of his fame, but his flamboyant personal life earned him the rest. Here Brendan Gill, a personal friend of Wright and his family, gives us not only the fullest, fairest, and most entertaining account of Wright to date, but also strips away the many masks the architect tirelessly constructed to fascinate his admirers and mislead his detractors. Enriched by hitherto unpublished letters and 300 photographs and drawings, this definitive biography makes Wright, in all his creativity, crankiness, and zest, fairly leap from its pages.

    Bonilla-Silva documented how beneath the rhetorical maze of contemporary racial discourse lies a full-blown arsenal of arguments, phrases, and stories that whites use to account for and ultimately justify racial inequities.In the new edition Bonilla-Silva has added a chapter dealing with the future of racial stratification in America that goes beyond the white / black dichotomy. He argues that the U.S. is developing a more complex and apparently "plural" racial order that will mimic Latin American patterns of racial stratification. Another new chapter addresses a variety of questions from readers of the first edition. And he has updated the book throughout with new information, data, and references where appropriate. The book ends with a new Postscript, "What is to be Done (For Real?)". As in the highly acclaimed first edition, Bonilla-Silva continues to challenge color-blind thinking.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    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.

    His surprising journey illuminates not only our understanding of this immensely troubled, misunderstood, and complicated soul genius but the ways in which our cultural heritage has been shaped by Brown’s legacy.  Kill ’Em and Leave is more than a book about James Brown. Brown’s rough-and-tumble life, through McBride’s lens, is an unsettling metaphor for American life: the tension between North and South, black and white, rich and poor. McBride’s travels take him to forgotten corners of Brown’s never-before-revealed history: the country town where Brown’s family and thousands of others were displaced by America’s largest nuclear power bomb-making facility; a South Carolina field where a long-forgotten cousin recounts, in the dead of night, a fuller history of Brown’s sharecropping childhood, which until now has been a mystery. McBride seeks out the American expatriate in England who co-created the James Brown sound, visits the trusted right-hand manager who worked with Brown for forty-one years, and interviews Brown’s most influential nonmusical creation, his “adopted son,” the Reverend Al Sharpton. He describes the stirring visit of Michael Jackson to the Augusta, Georgia, funeral home where the King of Pop sat up all night with the body of his musical godfather, spends hours talking with Brown’s first wife, and lays bare the Dickensian legal contest over James Brown’s estate, a fight that has consumed careers; prevented any money from reaching the poor schoolchildren in Georgia and South Carolina, as instructed in his will; cost Brown’s estate millions in legal fees; and left James Brown’s body to lie for more than eight years in a gilded coffin in his daughter’s yard in South Carolina.   James McBride is one of the most distinctive and electric literary voices in America today, and part of the pleasure of his narrative is being in his presence, coming to understand Brown through McBride’s own insights as a black musician with Southern roots. Kill ’Em and Leave is a song unearthing and celebrating James Brown’s great legacy: the cultural landscape of America today.Praise for Kill ’Em and Leave “The definitive look at one of the greatest, most important entertainers, The Godfather, Da Number One Soul Brother, Mr. Please, Please Himself—JAMES BROWN.”—Spike Lee “Please, please, please: Can anybody tell us who and what was James Brown? At last, the real deal: James McBride on James Brown is the matchup we’ve been waiting for, a musician who came up hard in Brooklyn with JB hooks lodged in his brain, a monster ear for the truth, and the chops to write it. This is no celeb bio but a compelling personal quest—so very timely, angry, hilarious, and as irresistible as any James Brown beat.”—Gerri Hirshey, author of Nowhere to Run: The Story of Soul Music “An unconventional and fascinating portrait of Soul Brother No. 1 and the significance of his rise and fall in American culture.” —Kirkus Reviews