Here, Sidney Poitier explores these elements of character and personal values to take his own measure - as a man, as a husband, and father, and as an actor.Poitier was uncompromising as he pursued a personal and public life that would honor his upbringing and the invaluable legacy of his parents. Committed to the notion that what one does for a living articulates who one is, Poitier played only forceful and affecting characters who said something positive, useful, and lasting about the human condition.Here, finally, is Poitier's own introspective look at what has informed his performances and his life. Poitier explores the nature of sacrifice and commitment, pride and humility, rage and forgiveness, and paying the price for artistic integrity. What emerges is a picture of a man seeking truth, passion, and balance in the face of limits his own and the world's. A triumph of the spirit, The Measure of a Man captures the essential Poitier.Author Biography: Sidney Poitier was the first and remains the only African American actor to win the Academy Award for Best Actor for his outstanding performance in Lilies of the Field in 1963, but he believes that will soon change, given the excellence of African-American talent in the industry today. He has starred in over forty films, directed nine, and written four. His landmark films include TheDefiant Ones, A Patch of Blue, Guess Who's Coming to Dinner, and To Sir, With Love. Among his many accolades, he has recently been selected as the thirty-sixth recipient of the Screen Actors Guild's highest honor, the Life Achievement Award for an outstanding career and humanitarian accomplishment.

    "I am black--and brown, too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell."The storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into a coffee shop and, along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness."Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience").She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably . . . Race is the story of my life, and therefore black is the body of this book."And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love."

    Subjected to bodily and sexual abuse by subsequent masters, she was bought and sold several times before she was ultimately freed.The first black woman to break the bonds of slavery in the British colonies and publish a record of her experiences, Prince vividly recalls her life in the West Indies, her rebellion against physical and psychological degradation, and her eventual escape in 1828 in England. Her straightforward, often poetic account of immense anguish, separation from her husband, and struggle for freedom inflamed public opinion during a period when stormy debates on abolition were common in both the United States and England.This edition also includes a substantial supplement by Thomas Pringle, the original editor, as well as another brief slave account: “The Narrative of Asa-Asa, a Captured African.”Essential reading for students of African-American studies, Mary Prince’s classic account of determination and endurance aids in filling the many gaps in black women’s history.

    The book challenges us to listen to a working-poor and disabled Black woman activist and intellectual from the past as we grapple with contemporary concerns around race, inequality, and social justice. Hamer's ideas and fearless activism reveal how we all, regardless of race, gender, sexuality, ability, economic status, or educational background, have the power to transform society.Born in Webster County, Mississippi, Fannie Lou Hamer (1917-1977), the youngest of twenty children, was the granddaughter of enslaved people and worked as a sharecropper before dedicating herself to activism. Hamer fought for her community by working for the Student Nonviolent Coordinating Committee (SNCC), assisting with Black voter registration, and serving as vice chair of the Mississippi Freedom Democratic Party.Hamer’s 1964 televised speech before the DNC's credentials committee was delivered before millions, and addressed two central issues that remain relevant today: voter suppression and state-sanctioned violence. Hamer described the scare tactics and violence she and other African Americans experienced and their lack of access to the vote. Throughout her life, Hamer fought for Black voting rights, social justice, women's empowerment, human rights and economic rights.

    In coming to terms with her decision to publicly out her mother, Gail changed how she looks at race and heritage.

    Channeling her poetic sensibilities into a rich, lucid prose, Alexander tells a love story that is, itself, a story of loss. As she reflects on the beauty of her married life, the trauma resulting from her husband's death, and the solace found in caring for her two teenage sons, Alexander universalizes a very personal quest for meaning and acceptance in the wake of loss. The Light of the World is at once an endlessly compelling memoir and a deeply felt meditation on the blessings of love, family, art, and community. It is also a lyrical celebration of a life well-lived and a paean to the priceless gift of human companionship. For those who have loved and lost, or for anyone who cares what matters most, The Light of the World is required reading.

    I buried the girl I was because she ran into all kinds of trouble. I tried to erase every memory of her, but she is still there, somewhere. . . . I was trapped in my body, one that I barely recognized or understood, but at least I was safe.”In her phenomenally popular essays and long-running Tumblr blog, Roxane Gay has written with intimacy and sensitivity about food and body, using her own emotional and psychological struggles as a means of exploring our shared anxieties over pleasure, consumption, appearance, and health. As a woman who describes her own body as “wildly undisciplined,” Roxane understands the tension between desire and denial, between self-comfort and self-care. In Hunger, she explores her past—including the devastating act of violence that acted as a turning point in her young life—and brings readers along on her journey to understand and ultimately save herself.With the bracing candor, vulnerability, and power that have made her one of the most admired writers of her generation, Roxane explores what it means to learn to take care of yourself: how to feed your hungers for delicious and satisfying food, a smaller and safer body, and a body that can love and be loved—in a time when the bigger you are, the smaller your world becomes.

    His goal was ambitious: to transform what would become over a hundred hours of interviews into an unprecedented portrait of Malcolm X, one that would separate fact from fiction.The result is this historic biography that conjures a never-before-seen world of its protagonist, a work whose title is inspired by a phrase Malcolm X used when he saw his Hartford followers stir with purpose, as if the dead were truly arising, to overcome the obstacles of racism. Setting Malcolm’s life not only within the Nation of Islam but against the larger backdrop of American history, the book traces the life of one of the twentieth century’s most politically relevant figures “from street criminal to devoted moralist and revolutionary.”In tracing Malcolm X’s life from his Nebraska birth in 1925 to his Harlem assassination in 1965, Payne provides searing vignettes culled from Malcolm’s Depression-era youth, describing the influence of his Garveyite parents: his father, Earl, a circuit-riding preacher who was run over by a street car in Lansing, Michigan, in 1929, and his mother, Louise, who continued to instill black pride in her children after Earl’s death. Filling each chapter with resonant drama, Payne follows Malcolm’s exploits as a petty criminal in Boston and Harlem in the 1930s and early 1940s to his religious awakening and conversion to the Nation of Islam in a Massachusetts penitentiary.With a biographer’s unwavering determination, Payne corrects the historical record and delivers extraordinary revelations—from the unmasking of the mysterious NOI founder “Fard Muhammad,” who preceded Elijah Muhammad; to a hair-rising scene, conveyed in cinematic detail, of Malcolm and Minister Jeremiah X Shabazz’s 1961 clandestine meeting with the KKK; to a minute-by-minute account of Malcolm X’s murder at the Audubon Ballroom.Introduced by Payne’s daughter and primary researcher, Tamara Payne, who, following her father’s death, heroically completed the biography, The Dead Are Arising is a penetrating and riveting work that affirms the centrality of Malcolm X to the African American freedom struggle.

    In his essays, personal stories combine with piercing intellect to reflect both on the state of American society and on his experiences with abuse, which conjure conflicted feelings of shame, joy, confusion and humiliation. Laymon invites us to consider the consequences of growing up in a nation wholly obsessed with progress yet wholly disinterested in the messy work of reckoning with where we’ve been.In Heavy, Laymon writes eloquently and honestly about growing up a hard-headed black son to a complicated and brilliant black mother in Jackson, Mississippi. From his early experiences of sexual violence, to his suspension from college, to his trek to New York as a young college professor, Laymon charts his complex relationship with his mother, grandmother, anorexia, obesity, sex, writing, and ultimately gambling. By attempting to name secrets and lies he and his mother spent a lifetime avoiding, Laymon asks himself, his mother, his nation, and us to confront the terrifying possibility that few in this nation actually know how to responsibly love, and even fewer want to live under the weight of actually becoming free.A personal narrative that illuminates national failures, Heavy is defiant yet vulnerable, an insightful, often comical exploration of weight, identity, art, friendship, and family that begins with a confusing childhood—and continues through twenty-five years of haunting implosions and long reverberations.

    And as a black woman in America, she maintains, sometimes you need to have a sense of humor to deal with the absurdity you are handed on the daily. Robinson has experienced her fair share over the years: she's been unceremoniously relegated to the role of "the black friend," as if she is somehow the authority on all things racial; she's been questioned about her love of U2 and Billy Joel ("isn t that . . . white people music?"); she's been called "uppity" for having an opinion in the workplace; she's been followed around stores by security guards; and yes, people do ask her whether they can touch her hair all. the. time. Now, she's ready to take these topics to the page and she s going to make you laugh as she s doing it. Using her trademark wit alongside pop-culture references galore, Robinson explores everything from why Lisa Bonet is "Queen. Bae. Jesus," to breaking down the terrible nature of casting calls, to giving her less-than-traditional advice to the future female president, and demanding that the NFL clean up its act, all told in the same conversational voice that launched her podcast, "2 Dope Queens," to the top spot on iTunes. As personal as it is political, "You Can't Touch My Hair" examines our cultural climate and skewers our biases with humor and heart, announcing Robinson as a writer on the rise."

    Helene grew up at Sugar Beach, a twenty-two-room mansion by the sea. Her childhood was filled with servants, flashy cars, a villa in Spain, and a farmhouse up-country. It was also an African childhood, filled with knock foot games and hot pepper soup, heartmen and neegee. When Helene was eight, the Coopers took in a foster child—a common custom among the Liberian elite. Eunice, a Bassa girl, suddenly became known as “Mrs. Cooper’s daughter.”For years the Cooper daughters—Helene, her sister Marlene, and Eunice—blissfully enjoyed the trappings of wealth and advantage. But Liberia was like an unwatched pot of water left boiling on the stove. And on April 12, 1980, a group of soldiers staged a coup d'état, assassinating President William Tolbert and executing his cabinet. The Coopers and the entire Congo class were now the hunted, being imprisoned, shot, tortured, and raped. After a brutal daylight attack by a ragtag crew of soldiers, Helene, Marlene, and their mother fled Sugar Beach, and then Liberia, for America. They left Eunice behind.A world away, Helene tried to assimilate as an American teenager. At the University of North Carolina at Chapel Hill she found her passion in journalism, eventually becoming a reporter for the Wall Street Journal and the New York Times. She reported from every part of the globe—except Africa—as Liberia descended into war-torn, third-world hell.In 2003, a near-death experience in Iraq convinced Helene that Liberia—and Eunice—could wait no longer. At once a deeply personal memoir and an examination of a violent and stratified country, The House at Sugar Beach tells of tragedy, forgiveness, and transcendence with unflinching honesty and a survivor's gentle humor. And at its heart, it is a story of Helene Cooper’s long voyage home.

    Blow mines the compelling poetry of the out-of-time African-American Louisiana town where he grew up -- a place where slavery's legacy felt astonishingly close, reverberating in the elders' stories and in the near-constant wash of violence.Blow's attachment to his mother -- a fiercely driven woman with five sons, brass knuckles in her glove box, a job plucking poultry at a nearby factory, a soon-to-be-ex husband, and a love of newspapers and learning -- cannot protect him from secret abuse at the hands of an older cousin. It's damage that triggers years of anger and searing self-questioning.Finally, Blow escapes to a nearby state university, where he joins a black fraternity after a passage of brutal hazing, and then enters a world of racial and sexual privilege that feels like everything he's ever needed and wanted, until he's called upon, himself, to become the one perpetuating the shocking abuse.A powerfully redemptive memoir that both fits the tradition of African-American storytelling from the South, and gives it an indelible new slant.

    Now, in her one-of-a-kind voice that blends academic intellectualism, Black American colloquialisms, and pop culture fanaticism, she’s bringing her life’s lessons and laughs to the page. This volume of essays, axioms, original illustrations, and photos provides Seales’s trademark “self-help from the hip” style of commentary, fueled by ideology formed from her own victories, struggles, research, mistakes, risks, and pay-offs. Unapologetic, fiercely funny, and searingly honest, Small Doses engages, empowers, and enlightens readers on how to find their truths while still finding the funny!

    She shares how she took on an entrenched system, gave a public voice to millions, and sets the stage for her trailblazing bid to be the first woman and first African-American President of the United States. By daring to be herself, Shirley Chisholm shows us how she forever changed the status quo. This expanded edition, edited by Scott Simpson, digs deeper with analysis by experts like Donna Brazile and Shola Lynch exploring Shirley Chisholm's impact on today and tomorrows world.

    Wells (1862-1931) was one of the foremost crusaders against black oppression. This engaging memoir tells of her private life as mother of a growing family as well as her public activities as teacher, lecturer, and journalist in her fight against attitudes and laws oppressing blacks. "No student of black history should overlook Crusade for Justice."—William M. Tuttle, Jr., Journal of American History "Besides being the story of an incredibly courageous and outspoken black woman in the face of innumerable odds, the book is a valuable contribution to the social history of the United States and to the literature of the women's movement as well."—Elizabeth Kolmer, American Quarterly "[Wells was] a sophisticated fighter whose prose was as thorough as her intellect."—Walter Goodman, New York Times "An illuminating narrative of a zealous, race-conscious, civic- and church-minded black woman reformer, whose life story is a significant chapter in the history of Negro-White relations."—Thelma D. Perry, Negro History Bulletin