At several historic moments, the trajectory of racial inequality could have been altered dramatically. Perhaps no moment was more opportune than the early days of Reconstruction, when the U.S. government temporarily implemented a major redistribution of land from former slaveholders to the newly emancipated enslaved. But neither Reconstruction nor the New Deal nor the civil rights struggle led to an economically just and fair nation. Today, systematic inequality persists in the form of housing discrimination, unequal education, police brutality, mass incarceration, employment discrimination, and massive wealth and opportunity gaps. Economic data indicates that for every dollar the average white household holds in wealth the average black household possesses a mere ten cents. In From Here to Equality, William Darity Jr. and A. Kirsten Mullen confront these injustices head-on and make the most comprehensive case to date for economic reparations for U.S. descendants of slavery. After opening the book with a stark assessment of the intergenerational effects of white supremacy on black economic well-being, Darity and Mullen look to both the past and the present to measure the inequalities borne of slavery. Using innovative methods that link monetary values to historical wrongs, they next assess the literal and figurative costs of justice denied in the 155 years since the end of the Civil War. Finally, Darity and Mullen offer a detailed roadmap for an effective reparations program, including a substantial payment to each documented U.S. black descendant of slavery. Taken individually, any one of the three eras of injustice outlined by Darity and Mullen--slavery, Jim Crow, and modern-day discrimination--makes a powerful case for black reparations. Taken collectively, they are impossible to ignore.

    As Steven Hahn demonstrates, rural African-Americans were central political actors in the great events of disunion, emancipation, and nation-building. At the same time, Hahn asks us to think in more expansive ways about the nature and boundaries of politics and political practice.Emphasizing the importance of kinship, labor, and networks of communication, A Nation under Our Feet explores the political relations and sensibilities that developed under slavery and shows how they set the stage for grassroots mobilization. Hahn introduces us to local leaders, and shows how political communities were built, defended, and rebuilt. He also identifies the quest for self-governance as an essential goal of black politics across the rural South, from contests for local power during Reconstruction, to emigrationism, biracial electoral alliances, social separatism, and, eventually, migration.Hahn suggests that Garveyism and other popular forms of black nationalism absorbed and elaborated these earlier struggles, thus linking the first generation of migrants to the urban North with those who remained in the South. He offers a new framework--looking out from slavery--to understand twentieth-century forms of black political consciousness as well as emerging battles for civil rights. It is a powerful story, told here for the first time, and one that presents both an inspiring and a troubling perspective on American democracy.

    The speaker, William Lynch, is said to have been a slave owner in the West Indies, and was summoned to Virginia in 1712; in part due to several slave revolts in the area prior to his visit, and more so because of his reputation of being an authoritarian and strict slave master. The Willie Lynch Letter is an account of a short speech given by Willie Lynch, in which he tells other slave owners that he has discovered the -secret- to controlling enslaved Africans by setting them against one another.

    Four decades later, the degree of racial inequality has barely changed. To understand what went wrong, Patrick Sharkey argues that we have to understand what has happened to African American communities over the last several decades. In Stuck in Place, Sharkey describes how political decisions and social policies have led to severe disinvestment from black neighborhoods, persistent segregation, declining economic opportunities, and a growing link between African American communities and the criminal justice system.As a result, neighborhood inequality that existed in the 1970s has been passed down to the current generation of African Americans. Some of the most persistent forms of racial inequality, such as gaps in income and test scores, can only be explained by considering the neighborhoods in which black and white families have lived over multiple generations. This multigenerational nature of neighborhood inequality also means that a new kind of urban policy is necessary for our nation’s cities. Sharkey argues for urban policies that have the potential to create transformative and sustained changes in urban communities and the families that live within them, and he outlines a durable urban policy agenda to move in that direction.

    The chafing restrictions of a typical upbringing in upper-class, small town Alabama simply did not apply to Zelda, who was described as an unusual child and permitted to roam the streets with little supervision. Zelda refused to blossom into a typical 'Southern belle' on anyone's terms but her own and while still in high school enjoyed the status of a local celebrity for her shocking behavior. Everybody in town knew the name Zelda Sayre. Queen of the Montgomery social scene, Zelda had a different beau ready and willing to show her a good time for every day of the week. Before meeting F. Scott Fitzgerald, Zelda's life was a constant pursuit of pleasure. With little thought for the future and no responsibilities to speak of, Zelda committed herself fully to the mantra that accompanied her photo in her high school graduation book: "Why should all life be work, when we all can borrow. Let's think only of today, and not worry about tomorrow." But for now Zelda was still in rehearsal for her real life to begin, a life she was sure would be absolutely extraordinary. Zelda Sayre married F. Scott Fitzgerald on the 3rd of April 1920 and left sleepy Montgomery behind in order to dive headfirst into the shimmering, glamourous life of a New York socialite. With the publication of Scott's first novel, This Side of Paradise, Zelda found herself thrust into the limelight as the very epitome of the Flapper lifestyle. Concerned chiefly with fashion, wild parties and flouting social expectations, Zelda and Scott became icons of the Jazz Age, the personification of beauty and success. What Zelda and Scott shared was a romantic sense of self-importance that assured them that their life of carefree leisure and excess was the only life really worth living. Deeply in love, the Fitzgeralds were like to sides of the same coin, each reflecting the very best and worst of each other. While the world fell in love with the image of the Fitzgeralds they saw on the cover of magazines, behind the scenes the Fitzgerald's marriage could not withstand the tension of their creative arrangement. Zelda was Scott's muse and he mercilessly mined the events of their life for material for his books. Scott claimed Zelda's memories, things she said, experiences she had and even passages from her diary as his possessions and used them to form the basis of his fictional works. Zelda had a child but the domestic sphere offered no comfort or purpose for her. The Flapper lifestyle was not simply a phase she lived through, it formed the very basis of her character and once the parties grew dull, the Fitzgeralds' drinking became destructive and Zelda's beauty began to fade, the world held little allure for her. Zelda sought reprieve in work and tried to build a career as a ballet dancer. When that didn't work out she turned to writing but was forbidden by Scott from using her own life as material. Convinced that she would never leave her mark on the world as deeply or expressively as Scott had, Zelda retreated into herself and withdrew from the people she knew in happier times. The later years of Zelda's life were marred by her detachment from reality as, diagnosed with schizophrenia, Zelda spent the last eighteen years of her life living in and out of psychiatric hospitals. As Scott's life unraveled due to alcohol abuse, Zelda looked back on the years they had spent together, young and wild and beautiful, as the best of her life. She may have been right but she was wrong about one thing, Zelda did leave her mark on the world and it was a deep and expressive mark that no one could have left but her. Zelda Fitzgerald: The Biography

    Eminent historian Nell Irvin Painter blends a vivid narrative based on the latest research with a wonderful array of artwork by African American artists, works which add a new depth to ourunderstanding of black history.Painter offers a history written for a new generation of African Americans, stretching from life in Africa before slavery to today's hip-hop culture. The book describes the staggering number of Africans--over ten million--forcibly transported to the New World, most doomed to brutal servitudein Brazil and the Caribbean. Painter looks at the free black population, numbering close to half a million by 1860 (compared to almost four million slaves), and provides a gripping account of the horrible conditions of slavery itself. The book examines the Civil War, revealing that it only slowlybecame a war to end slavery, and shows how Reconstruction, after a promising start, was shut down by terrorism by white supremacists. Painter traces how through the long Jim Crow decades, blacks succeeded against enormous odds, creating schools and businesses and laying the foundations of ourpopular culture. We read about the glorious outburst of artistic creativity of the Harlem Renaissance, the courageous struggles for Civil Rights in the 1960s, the rise and fall of Black Power, the modern hip-hop movement, and two black Secretaries of State. Painter concludes that African Americanstoday are wealthier and better educated, but the disadvantaged are as vulnerable as ever.Painter deeply enriches her narrative with a series of striking works of art--more than 150 in total, most in full color--works that profoundly engage with black history and that add a vital dimension to the story, a new form of witness that testifies to the passion and creativity of theAfrican-American experience.* Among the dozens of artists featured are Romare Bearden, Elizabeth Catlett, Beauford Delaney, Jacob Lawrence, and Kara Walker* Filled with sharp portraits of important African Americans, from Olaudah Equiano (one of the first African slaves to leave a record of his captivity) and Toussaint L'Ouverture (who led the Haitian revolution), to Harriet Tubman and Sojourner Truth, to Martin Luther King, Jr. and Malcolm X

    Based on three years of participant observation research at an elementary school, Bad Boys offers a richly textured account of daily interactions between teachers and students to understand this serious problem. Ann Arnett Ferguson demonstrates how a group of eleven- and twelve-year-old males are identified by school personnel as "bound for jail" and how the youth construct a sense of self under such adverse circumstances. The author focuses on the perspective and voices of pre-adolescent African American boys. How does it feel to be labeled "unsalvageable" by your teacher? How does one endure school when the educators predict one's future as "a jail cell with your name on it?" Through interviews and participation with these youth in classrooms, playgrounds, movie theaters, and video arcades, the author explores what "getting into trouble" means for the boys themselves. She argues that rather than simply internalizing these labels, the boys look critically at schooling as they dispute and evaluate the meaning and motivation behind the labels that have been attached to them. Supplementing the perspectives of the boys with interviews with teachers, principals, truant officers, and relatives of the students, the author constructs a disturbing picture of how educators' beliefs in a "natural difference" of black children and the "criminal inclination" of black males shapes decisions that disproportionately single out black males as being "at risk" for failure and punishment.Bad Boys is a powerful challenge to prevailing views on the problem of black males in our schools today. It will be of interest to educators, parents, and youth, and to all professionals and students in the fields of African-American studies, childhood studies, gender studies, juvenile studies, social work, and sociology, as well as anyone who is concerned about the way our schools are shaping the next generation of African American boys.Anne Arnett Ferguson is Assistant Professor of Afro-American Studies and Women's Studies, Smith College.

    Journalists and protestors flooded the town, and hate groups rallied to the establishment's defense, dredging up the long history of racial violence in this formerly prosperous mill town. What came next is the subject of an upcoming major motion picture starring Forest Whitaker, Garrett Hedlund, Tom Wilkinson, Andrea Riseborough, and Usher Raymond. Shortly after his museum opened, Michael Burden abruptly left the Klan at the urging of a woman he fell in love with. Broke and homeless, he was taken in by Reverend David Kennedy, an African American preacher and leader in the Laurens community, who plunged his church headlong in a quest to save their former enemy. In this spellbinding Southern epic, journalist Courtney Hargrave further uncovers the complex events behind the story told in Andrew Heckler's upcoming film, Burden, which won the 2018 Sundance Audience Award. Hargrave explores the choices that led to Kennedy and Burden's friendship, the social factors that drive young men to join hate groups, the intersection of poverty and racism in the divided South, and the difference one person can make in confronting America's oldest sin.

    Soon Gen Xers will be the only cohort of Americans who remember life as it was lived before the arrival of the Internet. They are, as Hennessey dubs them, “the last adult generation,” the sole remaining link to a time when childhood was still a bit dangerous but produced adults who were naturally resilient. More than a decade into the social media revolution, the American public is waking up to the idea that the tech sector’s intentions might not be as pure as advertised. The mountains of money being made off our browsing habits and purchase histories are used to fund ever-more extravagant and utopian projects that, by their very natures, will corrode the foundations of free society, leaving us all helpless and digitally enslaved to an elite crew of ultra-sophisticated tech geniuses. But it’s not too late to turn the tide. There’s still time for Gen X to write its own future. A spirited defense of free speech, eye contact, and the virtues of patience, Zero Hour for Gen X is a cultural history of the last 35 years, an analysis of the current social and historical moment, and a generational call to arms.

    White knights. The white dove of peace. White lie, white list, white magic. Our language and our culture are suffused, often subconsciously, with positive images of whiteness. Whiteness is so inextricably linked with the status quo that few whites, when asked, even identify themselves as such. And yet when asked what they would have to be paid to live as a black person, whites give figures running into the millions of dollars per year, suggesting just how valuable whiteness is in American society.Exploring the social, and specifically legal origins, of white racial identity, Ian F. Haney Lopez here examines cases in America's past that have been instrumental in forming contemporary conceptions of race, law, and whiteness. In 1790, Congress limited naturalization to white persons. This racial prerequisite for citizenship remained in force for over a century and a half, enduring until 1952. In a series of important cases, including two heard by the United States Supreme Court, judges around the country decided and defined who was white enough to become American.White by Law traces the reasoning employed by the courts in their efforts to justify the whiteness of some and the non- whiteness of others. Did light skin make a Japanese person white? Were Syrians white because they hailed geographically from the birthplace of Christ? Haney Lopez reveals the criteria that were used, often arbitrarily, to determine whiteness, and thus citizenship: skin color, facial features, national origin, language, culture, ancestry, scientific opinion, and, most importantly, popular opinion. Having defined the social and legal origins of whiteness, White by Law turns its attention to white identity today and concludes by calling upon whites to acknowledge and renounce their privileged racial identity.

    In Black Feminist Thought, Patricia Hill Collins explores the words and ideas of Black feminist intellectuals as well as those African-American women outside academe. She provides an interpretive framework for the work of such prominent Black feminist thinkers as Angela Davis, bell hooks, Alice Walker, and Audre Lorde. The result is a superbly crafted book that provides the first synthetic overview of Black feminist thought.

    Janell Carroll clearly conveys foundational biological and health issues, extensively cites both current and classic research, and addresses all material in a fresh and fun way; her book helps teach students what they need, and want, to know about sexuality. Her focus takes into account the social, religious, ethnic, racial, and cultural contexts of today's students. Dr. Carroll has used feedback from the first edition to add even further value to this popular title-streamlining student pedagogy and providing dynamic learning opportunities through Active Summaries at the end of chapters, a new online student tutorial, new video components, and content for Classroom Response Systems. This continues to be the text most representative of today's students, incorporating new sexual position art, a new pronunciation guide, and (for instructors) a new cross-cultural Slang Guide.

    King’s Promised Land. Almost fifty years after Martin Luther King, Jr.’s "I Have a Dream" speech, equality is the law of the land, but actual integration is still hard to find. Mammoth battles over forced busing, unfair housing practices, and affirmative action have hardly helped. The bleak fact is that black people and white people in the United States don’t spend much time together—at work, school, church, or anywhere. Tanner Colby, himself a child of a white-flight Southern suburb, set out to discover why.Some of My Best Friends Are Black chronicles America’s troubling relationship with race through four interrelated stories: the transformation of a once-racist Birmingham school system; a Kansas City neighborhood’s fight against housing discrimination; the curious racial divide of the Madison Avenue ad world; and a Louisiana Catholic parish’s forty-year effort to build an integrated church. Writing with a reporter’s nose and a stylist’s flair, Colby uncovers the deep emotional fault lines set trembling by race and takes an unflinching look at an America still struggling to reach the mountaintop.

    34 square blocks of Tulsa's Greenwood community, known then as the Negro Wall Street of America, were reduced to smoldering rubble.And now, 80 years later, the death toll of what is known as the Tulsa Race Riot is more difficult to pinpoint. Conservative estimates put the number of dead at about 100 (75% of the victims are believed to have been black), but the actual number of casualties could be triple that. The Tulsa Race Riot Commission, formed two years ago to determine exactly what happened, has recommended that restitution to the historic Greenwood Community would be good public policy and do much to repair the emotional as well as physical scars of this most terrible incident in our shared past. With chilling details, humanity, and the narrative thrust of compelling fiction, The Burning will recreate the town of Greenwood at the height of its prosperity, explore the currents of hatred, racism, and mistrust between its black residents and neighboring Tulsa's white population, narrate events leading up to and including Greenwood's annihilation, and document the subsequent silence that surrounded the tragedy.

    The point here is not to impose a new racial hierarchy, but to remove an existing one. After centuries of waiting for white majorities to overturn white supremacy, it seems to me that it has fallen to Black people to do it themselves.Acclaimed columnist and author Charles Blow never wanted to write a “race book.” But as violence against Black people—both physical and psychological—seemed only to increase in recent years, culminating in the historic pandemic and protests of the summer of 2020, he felt compelled to write a new story for Black Americans. He envisioned a succinct, counterintuitive, and impassioned corrective to the myths that have for too long governed our thinking about race and geography in America. Drawing on both political observations and personal experience as a Black son of the South, Charles set out to offer a call to action by which Black people can finally achieve equality, on their own terms.So what will it take to make lasting change when small steps have so frequently failed? It’s going to take an unprecedented shift in power. The Devil You Know is a groundbreaking manifesto, proposing nothing short of the most audacious power play by Black people in the history of this country. This book is a grand exhortation to generations of a people, offering a road map to true and lasting freedom.