They have presided over multinational feminist organizations and written much of what we consider the feminist canon, espousing sexual liberation and satisfaction, LGBTQ inclusion, and racial solidarity, all while branding the language of the movement itself in whiteness and speaking over Black and Brown women in an effort to uphold privilege and perceived cultural superiority. An American Muslim woman, attorney, and political philosopher, Rafia Zakaria champions a reconstruction of feminism in Against White Feminism, centering women of color in this transformative overview and counter-manifesto to white feminism’s global, long-standing affinity with colonial, patriarchal, and white supremacist ideals.Covering such ground as the legacy of the British feminist imperialist savior complex and “the colonial thesis that all reform comes from the West” to the condescension of the white feminist–led “aid industrial complex” and the conflation of sexual liberation as the “sum total of empowerment,” Zakaria follows in the tradition of intersectional feminist forebears Kimberlé Crenshaw, Adrienne Rich, and Audre Lorde. Zakaria ultimately refutes and reimagines the apolitical aspirations of white feminist empowerment in this staggering, radical critique, with Black and Brown feminist thought at the forefront.

    Thomas Chatterton Williams, the son of a “black” father from the segregated South and a “white” mother from the West, spent his whole life believing the dictum that a single drop of “black blood” makes a person black. This was so fundamental to his self-conception that he’d never rigorously reflected on its foundations—but the shock of his experience as the black father of two extremely white-looking children led him to question these long-held convictions.“It is not that I have come to believe that I am no longer black or that my daughter is white,” Williams writes. “It is that these categories cannot adequately capture either of us.” Beautifully written and bound to upset received opinions on race, Self-Portrait in Black and White is an urgent work for our time.

    The Skin We're In will spark a national conversation, influence policy, and inspire activists.In his 2015 cover story for Toronto Life magazine, Desmond Cole exposed the racist actions of the Toronto police force, detailing the dozens of times he had been stopped and interrogated under the controversial practice of carding. The story quickly came to national prominence, shaking the country to its core and catapulting its author into the public sphere. Cole used his newfound profile to draw insistent, unyielding attention to the injustices faced by Black Canadians on a daily basis.Both Cole’s activism and journalism find vibrant expression in his first book, The Skin We’re In. Puncturing the bubble of Canadian smugness and naive assumptions of a post-racial nation, Cole chronicles just one year—2017—in the struggle against racism in this country. It was a year that saw calls for tighter borders when Black refugees braved frigid temperatures to cross into Manitoba from the States, Indigenous land and water protectors resisting the celebration of Canada’s 150th birthday, police across the country rallying around an officer accused of murder, and more.The year also witnessed the profound personal and professional ramifications of Desmond Cole’s unwavering determination to combat injustice. In April, Cole disrupted a Toronto police board meeting by calling for the destruction of all data collected through carding. Following the protest, Cole, a columnist with the Toronto Star, was summoned to a meeting with the paper’s opinions editor and informed that his activism violated company policy. Rather than limit his efforts defending Black lives, Cole chose to sever his relationship with the publication. Then in July, at another police board meeting, Cole challenged the board to respond to accusations of a police cover-up in the brutal beating of Dafonte Miller by an off-duty police officer and his brother. When Cole refused to leave the meeting until the question was publicly addressed, he was arrested. The image of Cole walking out of the meeting, handcuffed and flanked by officers, fortified the distrust between the city’s Black community and its police force.Month-by-month, Cole creates a comprehensive picture of entrenched, systemic inequality. Urgent, controversial, and unsparingly honest, The Skin We’re In is destined to become a vital text for anti-racist and social justice movements in Canada, as well as a potent antidote to the all-too-present complacency of many white Canadians.

    While some deaths make headlines, most are personal tragedies suffered within families and communities. Worse, these killings are done one person at a time, so as not to raise alarm. While it is much more difficult to justify killing many people at once, in dramatic fashion, the result is the same—genocide.Taking on such high-profile cases as Trayvon Martin, Michael Brown, and a host of others, Crump witnessed the disparities within the American legal system firsthand and learned it is dangerous to be a black man in America—and that the justice system indeed only protects wealthy white men.In this enlightening and enthralling work, he shows that there is a persistent, prevailing, and destructive mindset regarding colored people that is rooted in our history as a slaveowning nation. This biased attitude has given rise to mass incarceration, voter disenfranchisement, unequal educational opportunities, disparate health care practices, job and housing discrimination, police brutality, and an unequal justice system. And all mask the silent and ongoing systematic killing of people of color.Open Season is more than Crump’s incredible mission to preserve justice, it is a call to action for Americans to begin living up to the promise to protect the rights of its citizens equally and without question.

    This pioneering novel found a way beyond the bondage of Blackness in American life to a new meaning in truth and beauty. Emma Lou Brown's dark complexion is a source of sorrow and humiliation -- not only to herself, but to her lighter-skinned family and friends and to the white community of Boise, Idaho, her home-town. As a young woman, Emma travels to New York's Harlem, hoping to find a safe haven in the Black Mecca of the 1920s. Wallace Thurman re-creates this legendary time and place in rich detail, describing Emma's visits to nightclubs and dance halls and house-rent parties, her sex life and her catastrophic love affairs, her dreams and her disillusions -- and the momentous decision she makes in order to survive. A lost classic of Black American literature, The Blacker the Berry...is a compelling portrait of the destructive depth of racial bias in this country. A new introduction by Shirlee Taylor Haizlip, author of The Sweeter the Juice, highlights the timelessness of the issues of race and skin color in America.

    The son of an Alabama sharecropper, and now a sixth-term United States Congressman, John Lewis has led an extraordinary life, one that found him at the epicenter of the civil rights movement in the late '50s and '60s. As Chairman of the Student Nonviolent Coordinating Committee (SNCC), Lewis was present at all the major battlefields of the movement. Arrested more than forty times and severely beaten on several occasions, he was one of the youngest yet most courageous leaders. Written with charm, warmth, and honesty, Walking with the Wind offers rare insight into the movement and the personalities of all the civil rights leaders-what was happening behind the scenes, the infighting, struggles, and triumphs. Lewis takes us from the Nashville lunch counter sit-ins to the Edmund Pettus Bridge in Selma, Alabama, where he led more than five hundred marchers on what became known as "Bloody Sunday." While there have been exceptional books on the movement, there has never been a front-line account by a man like John Lewis. A true American hero, his story is "destined to become a classic in civil rights literature." (Los Angeles Times)

    An enduring story of one young man's coming of age during a particular time and place, Black Boy remains a seminal text in our history about what it means to be a man, black, and Southern in America.

    That Albert Woodfox survived was, in itself, a feat of extraordinary endurance against the violence and deprivation he faced daily. That he was able to emerge whole from his odyssey within America’s prison and judicial systems is a triumph of the human spirit, and makes his book a clarion call to reform the inhumanity of solitary confinement in the U.S. and around the world.

    Mariam felt pretty sure she didn’t know a single Muslim woman who would describe herself that way. Why was she hearing about Muslim women from people who were neither Muslim, nor female?Years later the state of the national discourse has deteriorated even further, and Muslim women’s voices are still pushed to the fringes – the figures leading the discussion are white and male.Taking one of the most politicized and misused words associated with Muslim women and Islamophobia, It’s Not About the Burqa is poised to change all that. Here are voices you won’t see represented in the national news headlines: seventeen Muslim women speaking frankly about the hijab and wavering faith, about love and divorce, about feminism, queer identity, sex, and the twin threats of a disapproving community and a racist country. Funny, warm, sometimes sad, and often angry, each of these essays is a passionate declaration, and each essay is calling time on the oppression, the lazy stereotyping, the misogyny and the Islamophobia.What does it mean, exactly, to be a Muslim woman in the West today? According to the media, it’s all about the burqa.Here’s what it’s really about.

    In this riveting and timely memoir, the groundbreaking journalist unpacks lessons on race, identity, and success through her own journey, from navigating her way as the unstoppable child of an unlikely interracial marriage in small-town California to finding herself on the frontlines of a modern movement for the next generation of change makers. Welteroth moves beyond the headlines and highlight reels to share the profound lessons and struggles of being a barrier-breaker across so many intersections. As a young boss and often the only Black woman in the room, she’s had enough of the world telling her—and all women—they’re not enough. As she learns to rely on herself by looking both inward and upward, we’re ultimately reminded that we’re more than enough.

    Hailed for its scientific analysis and poetic grace when it was first published in 1952, the book remains a vital force today.

    Jackson made to survive the Portland, Oregon, of his youth. This dynamic book explores gangs and guns, near-death experiences, sex work, masculinity, composite fathers, the concept of “hustle,” and the destructive power of addiction—all framed within the experience of Jackson, his family, and his community. Lauded for its breathtaking pace, its tender portrayals, its stark candor, and its luminous style, Survival Math reveals on every page the searching intellect and originality of its author. The primary narrative, focused on understanding the antecedents of Jackson’s family’s experiences, is complemented by poems composed from historical American documents as well as survivor files, which feature photographs and riveting short narratives of several of Jackson’s male relatives. The sum of Survival Math’s parts is a highly original whole, one that reflects on the exigencies--over generations--that have shaped the lives of so many disenfranchised Americans. As essential as it is beautiful, as real as it is artful, Mitchell S. Jackson’s nonfiction debut is a singular achievement, not to be missed.

    Marxist analyses tend to presuppose European models of history and experience that downplay the significance of black people and black communities as agents of change and resistance. Black radicalism must be linked to the traditions of Africa and the unique experiences of blacks on western continents, Robinson argues, and any analyses of African American history need to acknowledge this.To illustrate his argument, Robinson traces the emergence of Marxist ideology in Europe, the resistance by blacks in historically oppressive environments, and the influence of both of these traditions on such important twentieth-century black radical thinkers as W. E. B. Du Bois, C. L. R. James, and Richard Wright.

    Taking the stage after the 46th president of the United States, Joe Biden, Gorman captivated the nation and brought hope to viewers around the globe. Her poem “The Hill We Climb: An Inaugural Poem for the Country” can now be cherished in this special gift edition. Including an enduring foreword by Oprah Winfrey, this keepsake celebrates the promise of America and affirms the power of poetry.

    . . a blueprint for this moment and the next, for where Black folks have been and where they might be going."--The New York Times Book Review (Editors' Choice) What does it mean to be Black and alive right now? Kimberly Drew and Jenna Wortham have brought together this collection of work--images, photos, essays, memes, dialogues, recipes, tweets, poetry, and more--to tell the story of the radical, imaginative, provocative, and gorgeous world that Black creators are bringing forth today. The book presents a succession of startling and beautiful pieces that generate an entrancing rhythm: Readers will go from conversations with activists and academics to memes and Instagram posts, from powerful essays to dazzling paintings and insightful infographics.In answering the question of what it means to be Black and alive, Black Futures opens a prismatic vision of possibility for every reader.