It is also no secret that these nineteenth-century gynecologists performed experimental caesarean sections, ovariotomies, and obstetric fistula repairs primarily on poor and powerless women. Medical Bondage breaks new ground by exploring how and why physicians denied these women their full humanity yet valued them as "medical superbodies" highly suited for medical experimentation.In Medical Bondage, Cooper Owens examines a wide range of scientific literature and less formal communications in which gynecologists created and disseminated medical fictions about their patients, such as their belief that black enslaved women could withstand pain better than white "ladies." Even as they were advancing medicine, these doctors were legitimizing, for decades to come, groundless theories related to whiteness and blackness, men and women, and the inferiority of other races or nationalities. Medical Bondage moves between southern plantations and northern urban centers to reveal how nineteenth-century American ideas about race, health, and status influenced doctor-patient relationships in sites of healing like slave cabins, medical colleges, and hospitals. It also retells the story of black enslaved women and of Irish immigrant women from the perspective of these exploited groups and thus restores for us a picture of their lives.

    If you're Black in the US, this is not new. As Colorlines editors Akiba Solomon and Kenrya Rankin show, Black Americans subvert and resist life-threatening forces as a matter of course. In these pages, leading organizers, artists, journalists, comedians, athletes, and filmmakers offer wisdom on how they fight White supremacy. It's a must-read for anyone new to resistance work, and for the next generation of leaders building a better future.Featuring contributions from:Ta-Nehisi CoatesTarana BurkeHarry Belafonteadrienne maree brownAlicia GarzaPatrisse Khan-CullorsReverend Dr. Valerie BridgemanKiese LaymonJamilah LemieuxRobin DG KelleyDamon YoungMichael Arceneaux

    For too long the Panthers’ story has been a footnote to the civil rights movement rather than what it was: a revolutionary socialist movement that drew thousands of members—mostly women—and became the target of one of the most sustained repression efforts ever made by the U.S. government against its own citizens.Revolution in Our Time puts the Panthers in the proper context of Black American history, from the first arrival of enslaved people to the Black Lives Matter movement of today. Kekla Magoon’s eye-opening work invites a new generation of readers grappling with injustices in the United States to learn from the Panthers’ history and courage, inspiring them to take their own place in the ongoing fight for justice.

    Revolutionary in their day, Group f.64 was one of the first modern art movements equally defined by women. From the San Francisco Bay Area, its influence extended internationally, contributing significantly to the recognition of photography as a fine art.The group-first identified as such in a 1932 exhibition-was comprised of strongly individualist artists, brought together by a common philosophy, and held together in a tangle of dynamic relationships. They shared a conviction that photography must emphasize its unique capabilities-those that distinguished it from other arts-in order to establish the medium's identity. Their name, f.64, they took from a very small lens aperture used with their large format cameras, a pinprick that allowed them to capture the greatest possible depth of field in their lustrous, sharply detailed prints. In today's digital world, these “straight” photography champions are increasingly revered.Mary Alinder is uniquely positioned to write this first group biography. A former assistant to Ansel Adams, she knew most of the artists featured. Just as importantly, she understands the art. Featuring fifty photographs by and of its members, Group f.64 details a transformative period in art with narrative flair.

    But the Africans then living in the colonies overwhelmingly sided with the British. In this trailblazing book, Gerald Horne shows that in the prelude to 1776, the abolition of slavery seemed all but inevitable in London, delighting Africans as much as it outraged slaveholders, and sparking the colonial revolt.Prior to 1776, anti-slavery sentiments were deepening throughout Britain and in the Caribbean, rebellious Africans were in revolt. For European colonists in America, the major threat to their security was a foreign invasion combined with an insurrection of the enslaved. It was a real and threatening possibility that London would impose abolition throughout the colonies--a possibility the founding fathers feared would bring slave rebellions to their shores. To forestall it, they went to war.The so-called Revolutionary War, Horne writes, was in part a counter-revolution, a conservative movement that the founding fathers fought in order to preserve their right to enslave others. The Counter-Revolution of 1776 brings us to a radical new understanding of the traditional heroic creation myth of the United States.

    Her story—thousands of photo negatives and prints found in a storage locker and sold for pennies at auction—has stirred millions around the world. Maier was a painfully private woman who now speaks powerfully through the photographs she took only for herself. This new collection offers readers a chance to follow Maier as she travels the world, including images of France, Italy, Malaysia, Yemen, Puerto Rico, and America. These eye-to-eye portraits, published for the first time, are the single constant in her lifetime of photographic work. Maier is often cast as a quirky, antisocial character, moving on the outskirts of real connection. But these photographs show something more. Printed with the latest technology, the book utilizes a modified four-color process that produces images akin to traditional silver gelatin prints. Combined with 15u stochastic screening, Maier's 96 photographs in this volume are spectacularly sharp, full-range black-and-white reproductions.

    The call heralded not a tornado or a hurricane, but a very unnatural disaster--a manmade wave of racial cleansing that purged black populations from counties across the nation. We have long known about horrific episodes of lynching in the South, but the story of widespread racial cleansingabove and below the Mason-Dixon line--has remained almost entirely unknown. Time after time, in the period between Reconstruction and the 1920s, whites banded together to drive out the blacks in their midst. They burned and killed indiscriminately and drove thousands from their homes, sweeping entire counties clear of blacks to make them racially "pure." The expulsions were swift-in many cases, it took no more than twenty-four hours to eliminate an entire African-American population. Shockingly, these areas remain virtually all-white to this day. Based on nearly a decade of painstaking research in archives and census records, Buried in the Bitter Waters provides irrefutable evidence that racial cleansing occurred again and again on American soil, and fundamentally reshaped the geography of race. In this groundbreaking book, Pulitzer Prize-winning journalist Elliot Jaspin has rewritten American history as we know it.

    It shows us the entire world, one story at a time . . .Brandon Stanton’s Humans – his most moving and compelling book to date – shows us the world. After five years of traveling the globe, the creator of Humans of New York brings people from all parts of the world into a conversation with readers. He ignores borders, chronicles lives and shows us the faces of the world as he saw them. His travels took him from London, Paris and Rome to Iraq, Dubai, Ukraine, Pakistan, Jordan, Uganda, Vietnam, Israel and every other place in between. His interviews go deeper than before. His chronicling of peoples’ lives shows the experience of a writer who has traveled widely and thought deeply about the state of our world.Including hundreds of photos and stories of the people he met and talked with in over forty countries, Humans is classic Brandon Stanton – a fully color illustrated book that includes many photos and stories never seen before. For the first time for a HONY title, Humans will contain several of the essays Brandon’s posted online which have been read, loved and enthusiastically shared by his followers.

    In late August 1619, a ship arrived in the British colony of Virginia bearing a cargo of twenty to thirty enslaved people from Africa. Their arrival led to the barbaric and unprecedented system of American chattel slavery that would last for the next 250 years. This is sometimes referred to as the country’s original sin, but it is more than that: It is the source of so much that still defines the United States. The 1619 Project: A New Origin Story builds on The New York Times Magazine’s award-winning “1619 Project,” which reframed our understanding of American history by placing slavery and its continuing legacy at the center of our national narrative. This book substantially expands on the original "1619 Project, "weaving together eighteen essays that explore the legacy of slavery in present-day America with thirty-six poems and works of fiction that illuminate key moments of oppression, struggle, and resistance. The essays show how the inheritance of 1619 reaches into every part of contemporary American society, from politics, music, diet, traffic, and citizenship to capitalism, religion, and our democracy itself. This legacy can be seen in the way we tell stories, the way we teach our children, and the way we remember. Together, the elements of the book reveal a new origin story for the United States, one that helps explain not only the persistence of anti-Black racism and inequality in American life today, but also the roots of what makes the country unique. The book also features an elaboration of the original project’s Pulitzer Prize–winning lead essay by Nikole Hannah-Jones on how the struggles of Black Americans have expanded democracy for all Americans, as well as two original pieces from Hannah-Jones, one of which makes a case for reparative solutions to this legacy of injustice.

    Sociologist Karen E. Fields and historian Barbara J. Fields argue otherwise: the practice of racism produces the illusion of race, through what they call “racecraft.” And this phenomenon is intimately entwined with other forms of inequality in American life. So pervasive are the devices of racecraft in American history, economic doctrine, politics, and everyday thinking that the presence of racecraft itself goes unnoticed.That the promised post-racial age has not dawned, the authors argue, reflects the failure of Americans to develop a legitimate language for thinking about and discussing inequality. That failure should worry everyone who cares about democratic institutions.

    She retraces the history of the Atlantic slave trade from the fifteenth to the twentieth century and reckons with the blank slate of her own genealogy.There were no survivors of Hartman's lineage, nor far-flung relatives in Ghana of whom she had come in search. She traveled to Ghana in search of strangers. The most universal definition of the slave is a stranger--torn from kin and country. To lose your mother is to suffer the loss of kin, to forget your past, and to inhabit the world as a stranger. As both the offspring of slaves and an American in Africa, Hartman, too, was a stranger. Her reflections on history and memory unfold as an intimate encounter with places--a holding cell, a slave market, a walled town built to repel slave raiders--and with people: an Akan prince who granted the Portuguese permission to build the first permanent trading fort in West Africa; an adolescent boy who was kidnapped while playing; a fourteen-year-old girl who was murdered aboard a slave ship.Eloquent, thoughtful, and deeply affecting, Lose Your Mother is a powerful meditation on history, memory, and the Atlantic slave trade.

    Historical debate about the origin of racial slavery has focused on the status of the Negro in seventeenth-century Virginia and Maryland. However, as Theodore W. Allen argues in this magisterial work, what needs to be studied is the transformation of English, Scottish, Irish and other European colonists from their various statuses as servants, tenants, planters or merchants into a single new all-inclusive status: that of whites. This is the key to the paradox of American history, of a democracy resting on race assumptions.Volume One of this two-volume work attempts to escape the “white blind spot” which has distorted consecutive studies of the issue. It does so by looking in the mirror of Irish history for a definition of racial oppression and for an explanation of that phenomenon in terms of social control, free from the absurdities of classification by skin color. Compelling analogies are presented between the history of Anglo-Irish and British rule in Ireland and American White Supremacist oppression of Indians and African-Americans. But the relativity of race is shown in the sea change it entailed, whereby emigrating Irish haters of racial oppression were transformed into White Americans who defended it. The reasons for the differing outcomes of Catholic Emancipation and Negro Emancipation are considered and occasion is made to demonstrate Allen’s distinction between racial and national oppression.

    Now, all these years later, the two friends have an uncommon bond, the sort that can be fashioned only in serendipitous ways and fortified through shared experiences. Miller draws from his remarkable moments with The Champ to give us a beautifully written portrait of a great man physically devastated but spiritually young—playing mischievous tricks on unsuspecting guests, performing sleight of hand for any willing audience, and walking ten miles each way to grab an ice cream sundae. Informed by great literary journalists such as Joan Didion, Tom Wolfe, and Gay Talese, but in a timeless style that is distinctly his own, Miller gives us a series of extraordinary stories that coalesce into an unprecedentedly humanizing, intimate, and tenderly observed portrait of one of the world’s most loved men.

    In a rare and revealing look at how people in America truly feel about race, Terkel brings out the full complexity of the thoughts and emotions of both blacks and white, uncovering a fascinating narrative of changing opinions. Preachers and street punks, college students and Klansmen, interracial couples, the nephew of the founder of apartheid, and Emmett Till's mother are among those whose voices appear in Race. In all, nearly one hundred Americans talk openly about attitudes that few are willing to admit in public: feelings about affirmative action, gentrification, secret prejudices, and dashed hopes.

    Slavery produced centuries of physical, psychological and spiritual injury. Post Traumatic Slave Syndrome: America's Legacy of Enduring Injury and Healing lays the groundwork for understanding how the past has influenced the present, and opens up the discussion of how we can use the strengths we have gained to heal.