More than 150 years later, that number has barely budged. The Color of Money pursues the persistence of this racial wealth gap by focusing on the generators of wealth in the black community: black banks. Studying these institutions over time, Mehrsa Baradaran challenges the myth that black communities could ever accumulate wealth in a segregated economy. Instead, housing segregation, racism, and Jim Crow credit policies created an inescapable, but hard to detect, economic trap for black communities and their banks.The catch-22 of black banking is that the very institutions needed to help communities escape the deep poverty caused by discrimination and segregation inevitably became victims of that same poverty. Not only could black banks not "control the black dollar" due to the dynamics of bank depositing and lending but they drained black capital into white banks, leaving the black economy with the scraps.Baradaran challenges the long-standing notion that black banking and community self-help is the solution to the racial wealth gap. These initiatives have functioned as a potent political decoy to avoid more fundamental reforms and racial redress. Examining the fruits of past policies and the operation of banking in a segregated economy, she makes clear that only bolder, more realistic views of banking's relation to black communities will end the cycle of poverty and promote black wealth.

    In “Rivers,” a free Jim meets up decades later with his former raftmate Huckleberry Finn; “An Outtake” chronicles an escaped slave’s fate in the American Revolution; “On Brazil, or Dénouement” burrows deep into slavery and sorcery in early colonial South America; and in “Blues” the great poets Langston Hughes and Xavier Villaurrutia meet in Depression-era New York and share more than secrets.

    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.

    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.

    Ewing's narrative takes us from the streets of 1990s Chicago to an unspecified future, deftly navigating the boundaries of space, time, and reality. Ewing imagines familiar figures in magical circumstances, and identifies everyday objects - hair moisturizer, a spiral notebook - as precious icons.Her visual art is spare, playful, and poignant: a cereal box decoder ring that allows the wearer to understand what Black girls are saying; a teacher's angry, subversive message scrawled on the chalkboard. Electric Arches invites fresh conversations about race, gender, the city, identity, and the joy and pain of growing up.

    Of the millions of men, women, and children transported from Africa to America as slaves, Cudjo was then the only person alive to tell the story of this integral part of the nation's history. Hurston was there to record Cudjo's firsthand account of the raid that led to his capture and bondage fifty years after the Atlantic slave trade was outlawed in the United States.In 1931, Hurston returned to Plateau, the African-centric community three miles from Mobile founded by Cudjo and other former slaves from his ship. Spending more than three months there, she talked in depth with Cudjo about the details of his life. During those weeks, the young writer and the elderly formerly enslaved man ate peaches and watermelon that grew in the backyard and talked about Cudjo's past--memories from his childhood in Africa, the horrors of being captured and held in a barracoon for selection by American slavers, the harrowing experience of the Middle Passage packed with more than 100 other souls aboard the Clotilda, and the years he spent in slavery until the end of the Civil War.Based on those interviews, featuring Cudjo's unique vernacular, and written from Hurston's perspective with the compassion and singular style that have made her one of the preeminent American authors of the twentieth-century, Barracoon masterfully illustrates the tragedy of slavery and of one life forever defined by it. Offering insight into the pernicious legacy that continues to haunt us all, black and white, this poignant and powerful work is an invaluable contribution to our shared history and culture.

    Her rhythms and accents have the timelessness of a poetry which extends beyond white Western politics, beyond the anger and wisdom of Black America, beyond the North American earth, to Abomey and the Dahomeyan Amazons. These are poems nourished in an oral tradition, which also blaze and pulse on the page, beneath the reader's eye."

    Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

    From the publication of his first collections, A Boy’s Will (1913) and North of Boston (1914), Frost was recognized as a poet of unique power and formal skill, and the enduring significance of his work has been acknowledged by each subsequent generation. His poetry ranges from deceptively simply pastoral lyrics and genial, vernacular genre pieces to darker meditations, complex and ironic.Here, based on extensive research into his manuscripts and published work, is the first authoritative and truly comprehensive collection of his writings. Brought together for the first time in a Library of America single volume is all the major poetry, a generous selection of uncollected poems, all of Frost’s dramatic writing, and the most extensive gathering of his prose writings ever published, several of which are printed here for the first time.The core of this collection is the 1949 Complete Poems of Robert Frost, the last collection supervised by Frost himself. This version of the poems is free of unauthorized editorial changes introduced into subsequent editions. Also included is In the Clearing (1962), Frost’s final volume of poetry. Verse drawn from letters, articles, pamphlets, and journals makes up the largest selection of uncollected poems ever assembled, including nearly two dozen beautiful early works printed for the first time. Also gathered here are all the dramatic works: three plays and two verse masques.The unprecedented prose section includes more than three times as many items as any other collection available. It is rich and diverse, presenting many newly discovered or rediscovered pieces. Especially unusual items include Frost’s contribution to John F. Kennedy’s inauguration and two fascinating 1959 essays on “The Future of Man.” Several manuscript items are published here for the first time, including the essays “‘Caveat Poeta’” and “The Way There,” Frost’s remarks on being appointed poetry consultant to the Library of Congress in 1958, the preface to a proposed new edition of North of Boston, and many others. A selection of letters represents all of Frost’s important comments about prosody, poetics, style, and his theory of “sentence sounds.”

    Jadine Childs is a black fashion model with a white patron, a white boyfriend, and a coat made out of ninety perfect sealskins. Son is a black fugitive who embodies everything she loathes and desires. As Morrison follows their affair, which plays out from the Caribbean to Manhattan and the deep South, she charts all the nuances of obligation and betrayal between blacks and whites, masters and servants, and men and women.

    Featuring: Jack Kerouac, Allen Ginsberg, William Burroughs, Gary Snyder, Neal Cassady, Gregory Corso, Diane Di Prima, Bob Dylan, Ken Kesey, Charles Bukowski, Michael McClure, and more.

    From a spectrum of backgrounds—urban and rural, wealthy and poor, mixed race, immigrants, and more—Black Enough showcases diversity within diversity.Whether it’s New York Times bestselling author Jason Reynolds writing about #blackboyjoy or Newberry Honor-winning author Renee Watson talking about black girls at camp in Portland, or emerging author Jay Coles’s story about two cowboys kissing in the south—Black Enough is an essential collection full of captivating coming-of-age stories about what it’s like to be young and black in America.

    In Democracy Matters, West returns to the analysis of the arrested development of democracy, both in America and in the crisis-ridden Middle East.In a strikingly original diagnosis, he argues that if America is to become a better steward of democratization around the world, we must first wake up to the long history of imperialist corruption that has plagued our own democracy. Both our failure to foster peace in the Israeli-Palestinian conflict and the crisis of Islamist anti-Americanism stem largely from hypocrisies in our dealings with the world.Racism and imperial expansionism have gone hand in hand in our country's inexorable drive toward hegemony, and our current militarism is only the latest expression of that drive. Even as we are shocked by Islamic fundamentalism, our own brand of fundamentalism, which West dubs Constantinian Christianity, has joined forces with imperialist corporate and political elites in an unholy alliance, and four decades after the murder of Dr. Martin Luther King, Jr., insidious racism still inflicts debilitating psychic pain on so many of our citizens.But there is a deep democratic tradition in America of impassioned commitment to the fight against imperialist corruptions---the last great expression of which was the civil rights movement led by Dr. King---and West brings forth the powerful voices of that great democratizing tradition in a brilliant and deeply moving call for the revival of our better democratic nature. His impassioned and provocative argument for the revitalization of America's democracy will reshape the terms of the raging national debate about America's role in today's troubled world.

    "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."

    Williams- Al Young