Philip Dray also tells the story of the men and women who led the long and difficult fight to expose and eradicate lynching, including Ida B. Wells, James Weldon Johnson, Walter White, and W.E.B. Du Bois. If lynching is emblematic of what is worst about America, their fight may stand for what is best: the commitment to justice and fairness and the conviction that one individual’s sense of right can suffice to defy the gravest of wrongs. This landmark book follows the trajectory of both forces over American history—and makes lynching’s legacy belong to us all.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    It redefined how Reconstruction was viewed by historians and people everywhere in its chronicling of how Americans -- black and white -- responded to the unprecedented changes unleashed by the war and the end of slavery. This "smart book of enormous strengths" (Boston Globe) has since gone on to become the classic work on the wrenching post-Civil War period -- an era whose legacy reverberates still today in the United States.

    Don't have an opinion; don't dream big. And most of all, don't love yourself. In response to such destructive ideas, internationally recognized poet Mahogany Browne challenges the conditioning of society by crafting an anthem of strength and magic undeniable in its bloom for all beautiful Black girls. She has travelled the world sharing her vision of Black Girl Magic, and now in collaboration with artist Jess X. Snow, presents her acclaimed tribute in a visual form.Black Girl Magic is a journey from girlhood to womanhood and an invitation to readers to find magic in themselves.

    Here is the most recent scholarship on the geographic, social, ethnic, economic, and cultural journey of "the other Americans, " together with vital portraits of black pioneers and seminal figures in the struggle for freedom, as well as additional material on historical developments in the Reagan, Bush, and Clinton years.

    Beveridge Award of the American Historical Association.

    When several white passengers arrive late, the driver roughly orders the black passengers off to make room. Then, in the driving rain, disaster strikes, and Jeremy witnesses a shocking end to the day's drama. Set in Mississippi in the 1930s, this is a gripping story of racial injustice.

    She struck a chord with bluesy jazz ballads like "Put a Little Sugar in My Bowl" and powerful protest songs such as "Mississippi Goddam" and "To Be Young, Gifted, and Black," the anthem of the American Civil Rights movement.Here are the many lives and loves of Nina Simone, recounted in her unshakable voice.

    Blum and Paul Harvey weave a tapestry of American dreams and visions--from witch hunts to web pages, Harlem to Hollywood, slave cabins to South Park, Mormon revelations to Indian reservations--to show how Americans remade the Son of God visually time and again into a sacred symbol of their greatest aspirations, deepest terrors, and mightiest strivings for racial power and justice. "The Color of Christ" uncovers how, in a country founded by Puritans who destroyed depictions of Jesus, Americans came to believe in the whiteness of Christ. Some envisioned a white Christ who would sanctify the exploitation of Native Americans and African Americans and bless imperial expansion. Many others gazed at a messiah, not necessarily white, who was willing and able to confront white supremacy. The color of Christ still symbolizes America's most combustible divisions, revealing the power and malleability of race and religion from colonial times to the presidency of Barack Obama.

    In 1875, the most comprehensive civil rights legislation in the nation's history granted all Americans "the full and equal enjoyment" of public accomodations. Just eight years later, the Supreme Court, by an 8-1 vote, overturned the Civil Rights Act as unconstitutional and, in the process, disemboweled the equal protection provisions of the 14th Amendment. Using court records and accounts of the period, Lawrence Goldstone chronicles how "by the dawn of the 20th century the U.S. had become the nation of Jim Crow laws, quasi-slavery, and precisely the same two-tiered system of justice that had existed in the slave era."The very human story of how and why this happened make Inherently Unequal as important as it is provocative. Examining both celebrated decisions like Plessy v. Ferguson and those often overlooked, Goldstone demonstrates how the Supreme Court turned a blind eye to the obvious reality of racism, defending instead the business establishment and status quo--thereby legalizing the brutal prejudice that came to definite the Jim Crow era.

    The photographs include works by such giants as Walker Evans, Dorothea Lange, and Arthur Rothstein. From crowded, rundown farm shacks to Harlem storefront churches, the photos depict the lives of black people in 1930s America—their misery and weariness under rural poverty, their spiritual strength, and their lives in northern ghettos. Wright's accompanying text eloquently narrates the story of these 90 pictures and delivers a powerful commentary on the origins and history of black oppression in this country. Also included are new prefaces by Douglas Brinkley, Noel Ignatiev, and Michael Eric Dyson. "Among all the works of Wright, 12 Million Black Voices stands out as a work of poetry, ... passion, ... and of love."—David Bradley "A more eloquent statement of its kind could hardly have been devised."—The New York Times Book Review

    We know less about the role of the urban North in shaping views of race and crime in American society.Following the 1890 census, the first to measure the generation of African Americans born after slavery, crime statistics, new migration and immigration trends, and symbolic references to America as the promised land of opportunity were woven into a cautionary tale about the exceptional threat black people posed to modern urban society. Excessive arrest rates and overrepresentation in northern prisons were seen by many whites--liberals and conservatives, northerners and southerners--as indisputable proof of blacks' inferiority. In the heyday of "separate but equal," what else but pathology could explain black failure in the "land of opportunity"?The idea of black criminality was crucial to the making of modern urban America, as were African Americans' own ideas about race and crime. Chronicling the emergence of deeply embedded notions of black people as a dangerous race of criminals by explicit contrast to working-class whites and European immigrants, this fascinating book reveals the influence such ideas have had on urban development and social policies.

    Alongside Ernest Hemingway, Gertrude Stein, and Henry Miller was an avant-garde and tightly knit community of African Americans who found in Paris the artistic, racial, and emotional freedom denied them back home. The writers James Baldwin and Richard Wright; the jazz musicians Miles Davis, Charlie Parker, Sidney Bechet; and the artists Henry Ossawa Tanner, Lois Mailou Jones, and Jean-Michel Basquiat are among the score of exiles for whom Paris symbolized a color-blind society. Unlike their white compatriots, African Americans in Paris rejected not only American society, but also their victimized status in the U.S. And while black and white Americans inhabited different worlds even in Paris, they found meeting grounds in such places as Bricktop's jazzy nightclub, where the flamboyant owner taught Cole Porter to dance the Charleston. As the historian John Merriman proclaimed, "With skill and passion, Stovall brings this vibrant community to life."

    Winner of the Pulitzer Prize and the National Book AwardBased on hitherto unexamined sources: interviews with ex-slaves, diaries and accounts by former slaveholders, this "rich and admirably written book" (Eugene Genovese, The New York Times Book Review) aims to show how, during the Civil War and after Emancipation, blacks and whites interacted in ways that dramatized not only their mutual dependency, but the ambiguities and tensions that had always been latent in "the peculiar institution."

    In the only photo-essay book about the quilts of Gee’s Bend for children, award-winning author Susan Goldman Rubin explores the history and culture of this fascinating group of women and their unique quilting traditions. Rubin uses meticulous research to offer an exclusive look at an important facet of African American art and culture.   In the rural community of Gee’s Bend, African American women have been making quilts for generations. They use scraps of old overalls, aprons, and bleached cornmeal sacks—anything they can find. Their traditions have been passed down through the decades. Much to the women’s surprise, a selection of the quilts was featured in an exhibition at the Museum of Fine Arts, Houston, in 2002. The exhibition then traveled to the Whitney Museum in New York City. “Eye-poppingly gorgeous,” wrote a critic for the New York Times about the exhibition. He continued, “Some of the most miraculous works of modern art America has produced.” The Metropolitan Museum of Art will exhibit its newly acquired collection of Gee’s Bend quilts in 2017.   Rubin is known for producing well-researched, highly praised, and sophisticated biographies of artists and other important figures. Through similar research, The Quilts of Gee’s Bend shares specifics about this rare community and its rich traditions, allowing children to pause to consider history through the eyes of the people who lived it and through a legacy that is passed on to the next generation.   This book should be of great interest to classrooms, libraries, and those interested in African American art in the United States, in addition to quilting, life in early emancipated colonies in the South, and Gee’s Bends importance in the Civil Right’s movement. The quilts and the incredible stories behind them are powerful motivators for anyone who wishes to accomplish anything. A map, directions on how to make a quilt square, endnotes, and an index round out this stunning nonfiction book.