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.

    Now updated to address a decade of new scholarship, the book includes a new preface, afterword, and revised and expanded bibliographic essay. It remains the best book to introduce a subject of profound and lasting importance, one that lies at the center of American history.

    It is the story of the Monticello Plantation in Virginia, the estate where Thomas Jefferson wrote letters espousing the urgent need for liberty while enslaving over 400 people on the premises. It is the story of the Whitney Plantation, one of the only former plantations devoted to preserving the experience of the enslaved people whose lives and work sustained it. It is the story of Angola Prison in Louisiana, a former plantation named for the country from which most of its enslaved people arrived and which has since become one of the most gruesome maximum-security prisons in the world. And it is the story of Blandford Cemetery, the final resting place of tens of thousands of Confederate soldiers. In a deeply researched and transporting exploration of the legacy of slavery and its imprint on centuries of American history, How the Word Is Passed illustrates how some of our country's most essential stories are hidden in plain view-whether in places we might drive by on our way to work, holidays such as Juneteenth, or entire neighborhoods—like downtown Manhattan—on which the brutal history of the trade in enslaved men, women and children has been deeply imprinted. Informed by scholarship and brought alive by the story of people living today, Clint Smith’s debut work of nonfiction is a landmark work of reflection and insight that offers a new understanding of the hopeful role that memory and history can play in understanding our country.

    Startling in its intensity, unrelenting in its attacks on slavery and white racism, it alarmed Southern slaveholders, inspired Northern abolitionists, and hastened the sectional conflicts that led to the Civil War. In this new edition of the Appeal, the distinguished historian Sean Wilentz draws on a generation of innovative research to throw fresh light on Walker's life and ideas--and their enduring importance.

    Bonilla-Silva documented how beneath the rhetorical maze of contemporary racial discourse lies a full-blown arsenal of arguments, phrases, and stories that whites use to account for and ultimately justify racial inequities.In the new edition Bonilla-Silva has added a chapter dealing with the future of racial stratification in America that goes beyond the white / black dichotomy. He argues that the U.S. is developing a more complex and apparently "plural" racial order that will mimic Latin American patterns of racial stratification. Another new chapter addresses a variety of questions from readers of the first edition. And he has updated the book throughout with new information, data, and references where appropriate. The book ends with a new Postscript, "What is to be Done (For Real?)". As in the highly acclaimed first edition, Bonilla-Silva continues to challenge color-blind thinking.

    Conceived by acclaimed novelist Walter Mosley and sponsored by the New York University Africana Studies Program and the Institute of African American Affairs, this book originated as a series of community conversations where "visionaries with solutions" shared powerful views on personal and communal struggles, triumphs, and aspirations. The list of contributors suggests the range of perspectives and talents brought to bear on such issues as economics, political power, work, authority, and culture. Black Genius is a point of departure for vigorous discussion of our current realities and goals for the future-and a portrait of "genius" that leads the way to enriching American life in the twenty-first century.

    Washington, the most recognized national leader, orator and educator, emerged from slavery in the deep south, to work for the betterment of African Americans in the post Reconstruction period. "Up From Slavery" is an autobiography of Booker T. Washington's life and work, which has been the source of inspiration for all Americans. Washington reveals his inner most thoughts as he transitions from ex-slave to teacher and founder of one of the most important schools for African Americans in the south, The Tuskegee Industrial Institute.

    In this powerful book, Beryl Satter identifies the true causes of the city's black slums and the ruin of urban neighborhoods throughout the country: not, as some have argued, black pathology, the culture of poverty, or white flight, but a widespread and institutionalized system of legal and financial exploitation. In Satter's riveting account of a city in crisis, unscrupulous lawyers, slumlords, and speculators are pitched against religious reformers, community organizers, and an impassioned attorney who launched a crusade against the profiteers—the author's father, Mark J. Satter. At the heart of the struggle stand the black migrants who, having left the South with its legacy of sharecropping, suddenly find themselves caught in a new kind of debt peonage. Satter shows the interlocking forces at work in their oppression: the discriminatory practices of the banking industry; the federal policies that created the country's shameful "dual housing market"; the economic anxieties that fueled white violence; and the tempting profits to be made by preying on the city's most vulnerable population. A monumental work of history, this tale of racism and real estate, politics and finance, will forever change our understanding of the forces that transformed urban America.

    The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources.In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism.Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power.In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.

    Agents of Repression includes an incisive historical account of the FBI siege of Wounded Knee, and reveals the viciousness of COINTELPRO campaigns targeting the Black Liberation movement. The authors' new introduction examines the legacies of the Panthers and AIM, and shows how the FBI still presents a threat to those committed to fundamental social change.Ward Churchill is author of From a Native Son. Jim Vander Wall is co-author of The COINTELPRO Papers: Documents from the FBI's Secret Wars Against Dissent in the United States, with Ward Churchill.

    She explores the pivotal and interconnected roles played by gender and race in North Carolina politics from the period immediately preceding the disfranchisement of black men in 1900 to the time black and white women gained the vote in 1920. Gender and Jim Crow argues that the ideology of white supremacy embodied in the Jim Crow laws of the turn of the century profoundly reordered society and that within this environment, black women crafted an enduring tradition of political activism. According to Gilmore, a generation of educated African American women emerged in the 1890s to become, in effect, diplomats to the white community after the disfranchisement of their husbands, brothers, and fathers. Using the lives of African American women to tell the larger story, Gilmore chronicles black women's political strategies, their feminism, and their efforts to forge political ties with white women. Her analysis highlights the active role played by women of both races in the political process and in the emergence of southern progressivism. In addition, Gilmore illuminates the manipulation of concepts of gender by white supremacists and shows how this rhetoric changed once women, black and white, gained the vote.

    Patterned after the look of Ripley's popular Believe It or Not the multiple vignettes in each episode recount short items from Rogers's research. The feature began in the Pittsburgh Courier in November 1934 and ran through the 1960s.

    Drawing on speeches, diaries, letters, and other original documents, Paula Giddings powerfully portrays how black women have transcended racist and sexist attitudes--often confronting white feminists and black male leaders alike--to initiate social and political reform. From the open disregard for the rights of slave women to examples of today's more covert racism and sexism in civil rights and women'sorganizations, Giddings illuminates the black woman's crusade for equality. In the process, she paints unforgettable portraits of black female leaders, such as anti-lynching activist Ida B. Wells, educator and FDR adviser Mary McLeod Bethune, and the heroic civil rights leader Fannie Lou Hamer, among others, who fought both overt and institutionalized oppression.When and Where I Enter reveals the immense moral power black women possessed and sought to wield throughout their history--the same power that prompted Anna Julia Cooper in 1892 to tell a group of black clergymen, "Only the black woman can say 'when and where I enter, in the quiet, undisputed dignity of my womanhood, without violence and without suing or special patronage, then and there the whole . . . race enters with me.'"

    Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave-owning women were sophisticated economic actors who directly engaged in and benefited from the South’s slave market. Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth. Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave-owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment. By examining the economically entangled lives of enslaved people and slave-owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America.

    We now consider minstrelsy an embarrassing relic, but once blacks and whites alike saw it as a black art form—and embraced it as such. And, as the authors reveal, black minstrelsy remains deeply relevant to popular black entertainment, particularly in the work of contemporary artists like Dave Chappelle, Flavor Flav, Spike Lee, and Lil Wayne. Darkest America explores the origins, heyday, and present-day manifestations of this tradition, exploding the myth that it was a form of entertainment that whites foisted on blacks, and shining a sure-to-be controversial light on how these incendiary performances can be not only demeaning but also, paradoxically, liberating.