When Chickenheads Come Home to Roost is a decidedly intimate look into the life of the modern black woman: a complex world where feminists often have not-so-clandestine affairs with the most sexist of men; where women who treasure their independence often prefer men who pick up the tab; where the deluge of babymothers and babyfathers reminds black women, who long for marriage, that traditional nuclear families are a reality for less than 40 percent of the African-American population; and where black women are forced to make sense of a world where "truth is no longer black and white but subtle, intriguing shades of gray." Morgan ushers in a voice that, like hiphop - the cultural movement that defines her generation - samples and layers many voices, and injects its sensibilities into the old and flips it into something new, provocative, and powerful.

    Throughout her life she's endured acts of cruelty and aggression for being too feminine as a boy and not feminine enough as a girl. In order to survive childhood, she had to learn to convincingly perform masculinity. As an adult, she makes daily compromises to steel herself against everything from verbal attacks to heartbreak.With raw honesty, Shraya delivers an important record of the cumulative damage caused by misogyny, homophobia, and transphobia, releasing trauma from a body that has always refused to assimilate. I'm Afraid of Men is a journey from camouflage to a riot of color and a blueprint for how we might cherish all that makes us different and conquer all that makes us afraid.

    This stunningly personal document and extraordinary history of the turbulent sixties and early seventies displays James Baldwin's fury and despair more deeply than any of his other works.  In vivid detail he remembers the Harlem childhood that shaped his early conciousness, the later events that scored his heart with pain—the murders of Martin Luther King and Malcolm X, his sojourns in Europe and in Hollywood, and his retum to the American South to confront a violent America face-to-face.

    In this groundbreaking anthology, more than seventy women and men from all walks of life describe their lives as bisexuals in prose, poetry, art, and essays

    Franchesca Ramsey didn't set out to be an activist. Or a comedian. Or a commentator on identity, race, and culture, really. But then her YouTube video "What White Girls Say. . . to Black Girls" went viral. Twelve million views viral. Faced with an avalanche of media requests, fan letters, and hate mail, she had two choices: Jump in and make her voice heard or step back and let others frame the conversation. After a crash course in social justice and more than a few foot-in-mouth moments, she realized she had a unique talent and passion for breaking down injustice in America in ways that could make people listen and engage.In her first book, Ramsey uses her own experiences as an accidental activist to explore the many ways we communicate with each other—from the highs of bridging gaps and making connections to the many pitfalls that accompany talking about race, power, sexuality, and gender in an unpredictable public space...the internet. Well, That Escalated Quickly includes Ramsey's advice on dealing with internet trolls and low-key racists, confessions about being a former online hater herself, and her personal hits and misses in activist debates with everyone from bigoted Facebook friends and misguided relatives to mainstream celebrities and YouTube influencers. With sharp humor and her trademark candor, Ramsey shows readers we can have tough conversations that move the dialogue forward, rather than backward, if we just approach them in the right way.

    Foregrounding the state-sanctioned murder of Eric Garner in a historical analysis of the policing, disenfranchisement, and invisibilizing of fat Black men and trans and nonbinary AMAB people, Harrison discusses the pervasive, insidious ways that anti-fat anti-Blackness shows up in everyday life. Fat people can be legally fired in 49 states for being fat; they’re more likely to be houseless. Fat people die at higher rates from misdiagnosis or non-treatment; fat women are more likely to be sexually assaulted. And at the intersections of fatness, race, disability, and gender identity, these abuses are exacerbated.Taking on desirability politics, f*ckability, healthism, hyper-sexualization, invisibility, and the connections between anti-fatness and police violence, Harrison viscerally and vividly illustrates the myriad harms of anti-fat anti-Blackness–and offers strategies for dismantling denial, unlearning the cultural programming that says “fat is bad,” and moving beyond the world we have now toward one that makes space for the fat and Black.

    Although best-known for her work A Raisin in the Sun, her short life was full of extraordinary experiences and achievements, and she had an unflinching commitment to social justice, which brought her under FBI surveillance when she was barely in her twenties. While her close friends and contemporaries, like James Baldwin and Nina Simone, have been rightly celebrated, her story has been diminished and relegated to one work—until now. In 2018, Hansberry will get the recognition she deserves with the PBS American Masters documentary "Lorraine Hansberry: Sighted Eyes/Feeling Heart" and Imani Perry's multi-dimensional, illuminating biography, Looking for Lorraine.After the success of A Raisin in the Sun, Hansberry used her prominence in myriad ways: challenging President Kennedy and his brother to take bolder stances on Civil Rights, supporting African anti-colonial leaders, and confronting the romantic racism of the Beat poets and Village hipsters. Though she married a man, she identified as lesbian and, risking censure and the prospect of being outed, joined one of the nation's first lesbian organizations. Hansberry associated with many activists, writers, and musicians, including Malcolm X, Langston Hughes, Duke Ellington, Paul Robeson, W.E.B. Du Bois, among others. Looking for Lorraine is a powerful insight into Hansberry's extraordinary life—a life that was tragically cut far too short.

     An eye-opening book that tells the important, overlooked story of black women as a force in the suffrage movement--when fellow suffragists did not accept them as equal partners in the struggle.Susan B. Anthony. Elizabeth Cady Stanton. Alice Paul. The Women's Rights Convention at Seneca Falls. The 1913 Women's March in D.C. When the epic story of the suffrage movement in the United States is told, the most familiar leaders, speakers at meetings, and participants in marches written about or pictured are generally white.The real story isn't monochromatic.Women of color, especially African American women, were fighting for their right to vote and to be treated as full, equal citizens of the United States. Their battlefront wasn't just about gender. African American women had to deal with white abolitionist-suffragists who drew the line at sharing power with their black sisters. They had to overcome deep, exclusionary racial prejudices that were rife in the American suffrage movement. And they had to maintain their dignity--and safety--in a society that tried to keep them in its bottom ranks.Lifting as We Climb is the empowering story of African American women who refused to accept all this. Women in black church groups, black female sororities, black women's improvement societies and social clubs. Women who formed their own black suffrage associations when white-dominated national suffrage groups rejected them. Women like Mary Church Terrell, a founder of the National Association of Colored Women and of the NAACP; or educator-activist Anna Jullia Cooper who championed women getting the vote and a college education; or the crusading journalist Ida B. Wells, a leader in both the suffrage and anti-lynching movements.Author Evette Dionne, a feminist culture writer and the editor-in-chief of Bitch Media, has uncovered an extraordinary and underrepresented history of black women. In her powerful book, she draws an important historical line from abolition to suffrage to civil rights to contemporary young activists--filling in the blanks of the American suffrage story.

    As Jones reveals, some of the best-loved devices of our shared social media language are a result of Black women's innovations, from well-known movement-building hashtags (#BlackLivesMatter, #SayHerName, and #BlackGirlMagic) to the now ubiquitous use of threaded tweets as a marketing and storytelling tool. For some, these online dialogues provide an introduction to the work of Black feminist icons like Angela Davis, Barbara Smith, bell hooks, and the women of the Combahee River Collective. For others, this discourse provides a platform for continuing their feminist activism and scholarship in a new, interactive way.Complex conversations around race, class, and gender that have been happening behind the closed doors of academia for decades are now becoming part of the wider cultural vernacular--one pithy tweet at a time. With these important online conversations, not only are Black women influencing popular culture and creating sociopolitical movements; they are also galvanizing a new generation to learn and engage in Black feminist thought and theory, and inspiring change in communities around them.Hard-hitting, intelligent, incisive, yet bursting with humor and pop-culture savvy, Reclaiming Our Space is a survey of Black feminism's past, present, and future, and it explains why intersectional movement building will save us all.

    Reginald Dwayne Betts confronts the funk of postincarceration existence and examines prison not as a static space, but as a force that enacts pressure throughout a person’s life.The poems move between traditional and newfound forms with power and agility—from revolutionary found poems created by redacting court documents to the astonishing crown of sonnets that serves as the volume’s radiant conclusion. Drawing inspiration from lawsuits filed on behalf of the incarcerated, the redaction poems focus on the ways we exploit and erase the poor and imprisoned from public consciousness. Traditionally, redaction erases what is top secret; in Felon, Betts redacts what is superfluous, bringing into focus the profound failures of the criminal justice system and the inadequacy of the labels it generates.Challenging the complexities of language, Betts animates what it means to be a "felon."

    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.

    We must hold the truth to account in the midst of sensationalism and international political turmoil. Nasty Women is a collection of essays, interviews and accounts on what it is to be a woman in the 21st century.People, politics, pressure, punk - From working class experience to racial divides in Trump’s America, being a child of immigrants, to sexual assault, Brexit, pregnancy, contraception, identity, family, finding a voice online, role models and more, Laura Jane Grace of Against Me!, Zeba Talkhani, Chitra Ramaswamy are just a few of the incredible women who share their experience here.Keep telling your stories, and tell them loud.

    Her celebrity, however, has obscured other mid-century trans narratives—ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence.Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible.Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within,” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don’t Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

    She encouraged people to own up and share their racist behaviors, big and small. She was looking for truth, and she got it. Thousands of people participated in the challenge, and over 90,000 people downloaded the Me and White Supremacy Workbook.The updated and expanded Me and White Supremacy takes the work deeper by adding more historical and cultural contexts, sharing moving stories and anecdotes, and including expanded definitions, examples, and further resources.Awareness leads to action, and action leads to change. The numbers show that readers are ready to do this work - let's give it to them.

    Bridging the world of spirit and activism, they urge a compassionate response to the systemic, state-sanctioned violence and oppression that has persisted against Black people since the slave era. With national attention focused on the recent killings of unarmed black citizens and the response of the Black-centered liberation groups such as Black Lives Matter, "Radical Dharma" demonstrates how social transformation and personal, spiritual liberation must be articulated and inextricably linked.Rev. angel Kyodo williams, Lama Rod Owens, and Jasmine Syedullah represent a new voice in American Buddhism. Offering their own histories and experiences as illustrations of the types of challenges facing dharma practitioners and teachers who are different from those of the past five decades, they ask how teachings that transcend color, class, and caste are hindered by discrimination and the dynamics of power, shame, and ignorance. Their illuminating argument goes beyond a demand for the equality and inclusion of diverse populations to advancing a new dharma that deconstructs rather than amplifies systems of suffering and prepares us to weigh the shortcomings not only of our own minds but also of our communities. They forge a path toward reconciliation and self-liberation that rests on radical honesty, a common ground where we can drop our need for perfection and propriety and speak as souls.In a society where profit rules, people's value is determined by the color of their skin, and many voices including queer voices are silenced, Radical Dharma recasts the concepts of engaged spirituality, social transformation, inclusiveness, and healing.