Mistresses were powerful beings in the hierarchy of slavery rather than powerless victims of the same patriarchal system responsible for the oppression of the enslaved. Glymph challenges popular depictions of plantation mistresses as "friends" and "allies" of slaves and sheds light on the political importance of ostensible private struggles, and on the political agendas at work in framing the domestic as private and household relations as personal.Recommended by the Association of Black Women Historians.

    Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

    Nash reframes black feminism's engagement with intersectionality, often celebrated as its primary intellectual and political contribution to feminist theory. Charting the institutional history and contemporary uses of intersectionality in the academy, Nash outlines how women's studies has both elevated intersectionality to the discipline's primary program-building initiative and cast intersectionality as a threat to feminism's coherence. As intersectionality has become a central feminist preoccupation, Nash argues that black feminism has been marked by a single affect—defensiveness—manifested by efforts to police intersectionality's usages and circulations. Nash contends that only by letting go of this deeply alluring protectionist stance, the desire to make property of knowledge, can black feminists reimagine intellectual production in ways that unleash black feminist theory's visionary world-making possibilities.

    Nikhil Pal Singh asks what happened to the worldly and radical visions of equality that animated black intellectual activists from W. E. B. Du Bois in the 1930s to Martin Luther King, Jr. in the 1960s. In so doing, he constructs an alternative history of civil rights in the twentieth century, a long civil rights era, in which radical hopes and global dreams are recognized as central to the history of black struggle.It is through the words and thought of key black intellectuals, like Du Bois, Ralph Bunche, C. L. R. James, Richard Wright, Ralph Ellison, Langston Hughes, and others, as well as movement activists like Malcolm X and Black Panthers, that vital new ideas emerged and circulated. Their most important achievement was to create and sustain a vibrant, black public sphere broadly critical of U.S. social, political, and civic inequality.Finding racism hidden within the universalizing tones of reform-minded liberalism at home and global democratic imperatives abroad, race radicals alienated many who saw them as dangerous and separatist. Few wanted to hear their message then, or even now, and yet, as Singh argues, their passionate skepticism about the limits of U.S. democracy remains as indispensable to a meaningful reconstruction of racial equality and universal political ideals today as it ever was.

    He outlines how democracy has begun to embrace its dark side---what he calls its “nocturnal body”---which is based on the desires, fears, affects, relations, and violence that drove colonialism. This shift has hollowed out democracy, thereby eroding the very values, rights, and freedoms liberal democracy routinely celebrates. As a result, war has become the sacrament of our times in a conception of sovereignty that operates by annihilating all those considered enemies of the state. Despite his dire diagnosis, Mbembe draws on post-Foucauldian debates on biopolitics, war, and race as well as Fanon's notion of care as a shared vulnerability to explore how new conceptions of the human that transcend humanism might come to pass. These new conceptions would allow us to encounter the Other not as a thing to exclude but as a person with whom to build a more just world.

    It tells the astonishing story of sex in the West from the ancients to the moderns in a precise account of developments in reproductive anatomy and physiology. We cannot fail to recognize the players in Thomas Laqueur's story--the human sexual organs and pleasures, food, blood, semen, egg, sperm--but we will be amazed at the plots into which they have been woven by scientists, political activists, literary figures, and theorists of every stripe.Laqueur begins with the question of why, in the late eighteenth century, woman's orgasm came to be regarded as irrelevant to conception, and he then proceeds to retrace the dramatic changes in Western views of sexual characteristics over two millennia. Along the way, two "master plots" emerge. In the one-sex story, woman is an imperfect version of man, and her anatomy and physiology are construed accordingly: the vagina is seen as an interior penis, the womb as a scrotum, the ovaries as testicles. The body is thus a representation, not the foundation, of social gender. The second plot tends to dominate post-Enlightenment thinking while the one-sex model is firmly rooted in classical learning. The two-sex story says that the body determines gender differences, that woman is the opposite of man with incommensurably different organs, functions, and feelings. The two plots overlap; neither ever holds a monopoly. Science may establish many new facts, but even so, Laqueur argues, science was only providing a new way of speaking, a rhetoric and not a key to female liberation or to social progress. Making Sex ends with Freud, who denied the neurological evidence to insist that, as a girl becomes a woman, the locus of her sexual pleasure shifts from the clitoris to the vagina; she becomes what culture demands despite, not because of, the body. Turning Freud's famous dictum around, Laqueur posits that destiny is anatomy. Sex, in other words, is an artifice.This is a powerful story, written with verve and a keen sense of telling detail (be it technically rigorous or scabrously fanciful). Making Sex will stimulate thought, whether argument or surprised agreement, in a wide range of readers.

    This unwritten set of rules—based largely on an individual's ability to command respect—is a powerful and pervasive form of etiquette, governing the way in which people learn to negotiate public spaces. Elijah Anderson's incisive book delineates the code and examines it as a response to the lack of jobs that pay a living wage, to the stigma of race, to rampant drug use, to alienation and lack of hope.

    Martin Luther King, Jr. and Medgar Evers, and the forebear of today’s popular black comics, including Larry Wilmore, W. Kamau Bell, Damon Young, and Trevor Noah, Dick Gregory has been a provocative and incisive cultural force for more than fifty years. As an entertainer, he has always kept it indisputably real about race issues in America, fearlessly lacing laughter with hard truths. As a leading activist against injustice, he marched at Selma during the Civil Rights movement, organized student rallies to protest the Vietnam War; sat in at rallies for Native American and feminist rights; fought apartheid in South Africa; and participated in hunger strikes in support of Black Lives Matter.In this collection of thoughtful, provocative essays, Gregory charts the complex and often obscured history of the African American experience. In his unapologetically candid voice, he moves from African ancestry and surviving the Middle Passage to the creation of the Jheri Curl, the enjoyment of bacon and everything pig, the headline-making shootings of black men, and the Black Lives Matter movement. A captivating journey through time, The Most Defining Moments in Black History According to Dick Gregory explores historical movements such as The Great Migration and the Harlem Renaissance, as well as cultural touchstones such as Sidney Poitier winning the Best Actor Oscar for Lilies in the Field and Billie Holiday releasing Strange Fruit.An engaging look at black life that offers insightful commentary on the intricate history of the African American people, The Most Defining Moments in Black History According to Dick Gregory is an essential, no-holds-bar history lesson that will provoke, enlighten, and entertain.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    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.

    On the cutting-edge of this significant shift was Annamarie Jagose's classic text Queer Theory: An Introduction. In this groundbreaking work, Jagose provides a clear and concise explanation of queer theory, tracing it as part of an intriguing history of same-sex love over the last century.Blending insights from prominent theorists such as Judith Butler and David Halperin, Jagose illustrates that queer theory's challenge is to create new ways of thinking, not only about fixed sexual identities such as straight and gay, but about other supposedly immovable notions such as sexuality and gender, and man and woman. First released almost 25 years ago, this groundbreaking work has provided a foundation for the continuing evolution of queer theory in the twenty-first century.

    Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.This is a book no reader, writer or speaker should be without.

    But at the beginning of the nineteenth century, after almost two hundred years of African-American life in mainland North America, few slaves grew cotton, lived in the deep South, or embraced Christianity. Many Thousands Gone traces the evolution of black society from the first arrivals in the early seventeenth century through the Revolution. In telling their story, Ira Berlin, a leading historian of southern and African-American life, reintegrates slaves into the history of the American working class and into the tapestry of our nation.Laboring as field hands on tobacco and rice plantations, as skilled artisans in port cities, or soldiers along the frontier, generation after generation of African Americans struggled to create a world of their own in circumstances not of their own making. In a panoramic view that stretches from the North to the Chesapeake Bay and Carolina lowcountry to the Mississippi Valley, Many Thousands Gone reveals the diverse forms that slavery and freedom assumed before cotton was king. We witness the transformation that occurred as the first generations of creole slaves--who worked alongside their owners, free blacks, and indentured whites--gave way to the plantation generations, whose back-breaking labor was the sole engine of their society and whose physical and linguistic isolation sustained African traditions on American soil.As the nature of the slaves' labor changed with place and time, so did the relationship between slave and master, and between slave and society. In this fresh and vivid interpretation, Berlin demonstrates that the meaning of slavery and of race itself was continually renegotiated and redefined, as the nation lurched toward political and economic independence and grappled with the Enlightenment ideals that had inspired its birth.

    The Language of African Literature2. The Language of African Theatre3. The Language of African Fiction4. The Quest for RelevanceIndex

    The work here represents the lives, politics, and artistic expressions of Black, Brown, Latinx, Indigenous, Mixed-Race, and other racialized and people of color from many autistic communities, often speaking out sharply on issues of marginality, intersectionality, and liberation.