These topics are all timely yet timeless in that they represent the continuing struggle to include African Americans in mainstream American political, economic & social life without destroying their unique culture. The essays have the feel of a fine sermon, with thought-provoking ideas & new ways of looking at the same old problems. They can be quickly read yet take a long time to digest because of West's unique slant on life. Already well known in scholarly circles, he's increasingly becoming more visible to the general public. This book should make his essays more accessible to a greater number of people.--Library JournalPrefaceIntroduction: Race mattersNihilism in Black America The pitfalls of racial reasoningThe crisis of Black leadership Demystifying the new Black conservatismBeyond affirmative action: equality and identityOn Black-Jewish relations Black sexuality: the taboo subjectMalcolm X and Black rage Epilogue to the Vintage edition

    By the end of his trip in the police van, Gray was in a coma he would never recover from. In the wake of a long history of police abuse in Baltimore, this killing felt like a final straw--it lead to a week of protests and then five days described alternately as a riot or an uprising that set the entire city on edge, and caught the nation's attention.Wes Moore is one of Baltimore's most famous sons--a Rhodes Scholar, bestselling author, decorated combat veteran, White House fellow, and current President of the Robin Hood Foundation. While attending Gray's funeral, he saw every strata of the city come together: grieving mothers; members of the city's wealthy elite; activists; and the long-suffering citizens of Baltimore--all looking to comfort each other, but also looking for answers. Knowing that when they left the church, these factions would spread out to their own corners, but that the answers they were all looking for could only be found in the city as a whole, Moore--along with Pulitzer-winning coauthor Erica Green--is telling the multi-narrative story of the Baltimore uprising. Through both his own observations, and through the eyes of other Baltimoreans: Partee, a conflicted black captain of the Baltimore Police Department; Jenny, a young white public defender who's drawn into the violent center of the uprising herself; Tawanda, a young black woman who'd spent a lonely year protesting the killing of her own brother by police; and John DeAngelo, scion of the city's most powerful family and owner of the Baltimore Orioles, who has to make choices of conscience he'd never before confronted.Each shifting point of view contributes to an engrossing, cacophonous account of one of the most consequential moments in our recent history--but also an essential cri de coeur about the deeper causes of the violence and the small seeds of hope planted in its aftermath.

    He traces his father’s rise to become a friend of Stokely Carmichael and Martin Luther King, a civil rights hero, and a member of the Student Non-Violent Coordinating Committee (SNCC), to explore the plight of the South's dwindling rural, black working class―many of whom can trace their ancestry back for seven generations.In his poetic personal history, we are awakened to the crisis affecting the other “Forgotten Men & Women,” who the media seldom acknowledges. For Sellers, these are his family members, neighbors, and friends. He humanizes the struggles that shape their lives: to gain access to healthcare as rural hospitals disappear; to make ends meet as the factories they have relied on shut down and move overseas; to hold on to precious traditions as their towns erode; to forge a path forward without succumbing to despair.My Vanishing Country is also a love letter to fatherhood―to Sellers' father, his lodestar, whose life lessons have shaped him, and to his newborn twins, who he hopes will embrace the Sellers family name and honor its legacy.

    Drawing on Anderson's own writings and other contemporary accounts, Russell Freedman shows readers a singer pursuing her art despite the social constraints that limited the careers of black performers in the 1920s and 1930s. Though not a crusader or a spokesperson by nature, Marian Anderson came to stand for all black artists -- and for all Americans of color -- when, with the help of such prominent figures as Eleanor Roosevelt, she gave her landmark 1939 performance on the steps of the Lincoln Memorial, which signaled the end of segregation in the arts.Carefully researched, expertly told, and profusely illustrated with contemporary photographs, this Newbery Honor and Sibert Medal-winning book is a moving account of the life of a talented and determined artist who left her mark on musical and social history. Through her story, Newbery Medal-winning author Russell Freedman, one of today's leading authors of nonfiction for young readers, illuminates the social and political climate of the day and an important chapter in American history. Notes, bibliography, discography, index.

    But beyond her massive professional success on the soccer field, Rapinoe has become an icon and ally to millions, boldly speaking out on the issues that matter most. In recent years, she's become one of the faces of the equal pay movement and her tireless activism for LGBTQ rights has earned her global support.In One Life, Rapinoe embarks on a thoughtful and unapologetic discussion of social justice and politics. Raised in a conservative small town in northern California, the youngest of six, Rapinoe was four years old when she kicked her first soccer ball. Her parents encouraged her love for the game, but also urged her to volunteer at homeless shelters and food banks. Her passion for community engagement never wavered through high school or college, all the way up to 2016, when she took a knee during the national anthem in solidarity with former NFL player Colin Kaepernick, to protest racial injustice and police brutality - the first high-profile white athlete to do so. The backlash was immediate, but it couldn't compare to the overwhelming support. Rapinoe became a force of social change, both on and off the field.Using anecdotes from her own life and career, from suing the United States Soccer Federation alongside her teammates over gender discrimination to her widely publicized refusal to visit the White House, Rapinoe discusses the obligation we all have to speak up, and reveals the impact each of us can have on our communities. As she declared during the soccer team's victory parade in New York in 2019, "[T]his is everybody's responsibility, every single person here, every single person who is not here, every single person who doesn't want to be here, every single person who agrees and doesn't agree.... It takes everybody. This is my charge to everybody. Do what you can. Do what you have to do. Step outside yourself. Be more. Be better. Be bigger than you've ever been before."

    It took ten years and a half a million miles of travel across three continents to find it, but finally, in an astonishing feat of genealogical detective work, he discovered not only the name of "the African"—Kunta Kinte—but the precise location of Juffure, the very village in The Gambia, West Africa, from which he was abducted in 1767 at the age of sixteen and taken on the Lord Ligonier to Maryland and sold to a Virginia planter.Haley has talked in Juffure with his own African sixth cousins. On September 29, 1967, he stood on the dock in Annapolis where his great-great-great-great-grandfather was taken ashore on September 29, 1767. Now he has written the monumental two-century drama of Kunta Kinte and the six generations who came after him—slaves and freedmen, farmers and blacksmiths, lumber mill workers and Pullman porters, lawyers and architects—and one author.But Haley has done more than recapture the history of his own family. As the first black American writer to trace his origins back to their roots, he has told the story of 25,000,000 Americans of African descent. He has rediscovered for an entire people a rich cultural heritage that slavery took away from them, along with their names and their identities. But Roots speaks, finally, not just to blacks, or to whites, but to all people and all races everywhere, for the story it tells is one of the most eloquent testimonials ever written to the indomitability of the human spirit.

    Trevor Noah’s unlikely path from apartheid South Africa to the desk of The Daily Show began with a criminal act: his birth. Trevor was born to a white Swiss father and a black Xhosa mother at a time when such a union was punishable by five years in prison. Living proof of his parents’ indiscretion, Trevor was kept mostly indoors for the earliest years of his life, bound by the extreme and often absurd measures his mother took to hide him from a government that could, at any moment, steal him away. Finally liberated by the end of South Africa’s tyrannical white rule, Trevor and his mother set forth on a grand adventure, living openly and freely and embracing the opportunities won by a centuries-long struggle. Born a Crime is the story of a mischievous young boy who grows into a restless young man as he struggles to find himself in a world where he was never supposed to exist. It is also the story of that young man’s relationship with his fearless, rebellious, and fervently religious mother—his teammate, a woman determined to save her son from the cycle of poverty, violence, and abuse that would ultimately threaten her own life.

    In fact, they are much more. They are survivors of the Middle Passage and centuries of humiliation and deprivation, who have excelled against the odds, constantly making a way out of “No way!” At this pivotal point in history, the idea of black inferiority should have had a “Going-Out-of-Business Sale.” After all, Barack Obama has reached America’s Promised Land.Yet, as Brainwashed: Challenging the Myth of Black Inferiority testifies, too many in black America are still wandering in the wilderness. In this powerful examination of “the greatest propaganda campaign of all time”—the masterful marketing of black inferiority, aka the BI Complex—Burrell poses ten disturbing questions that will make black people look in the mirror and ask why, nearly 150 years after the Emancipation Proclamation, so many blacks still think and act like slaves. Burrell’s acute awareness of the power of words and images to shift, shape, and change the collective consciousness has led him to connect the contemporary and historical dots that have brought us to this crossroads. Brainwashed is not a reprimand—it is a call to action. It demands that we question our self-defeating attitudes and behaviors. Racism is not the issue; how we respond to media distortions and programmed self-hatred is the issue. It’s time to reverse the BI campaign with a globally based initiative that harnesses the power of new media and the wisdom of intergenerational coalitions. Provocative and powerful, Brainwashed dares to expose the wounds so that we, at last, can heal.

    In 1988, after the University of Arkansas Press reprinted it, it won an American Book Award.On September 3, 1957, Gov. Orval Faubus called out the National Guard to surround all-white Central High School and prevent the entry of nine black students, challenging the Supreme Court's 1954 order to integrate all public schools. On September 25, Daisy Bates, an official of the NAACP in Arkansas, led the nine children into the school with the help of federal troops sent by President Eisenhower-the first time in eighty-one years that a president had dispatched troops to the South to protect the constitutional rights of black Americans. This new edition of Bates's own story about these historic events is being issued to coincide with the fiftieth anniversary of the Little Rock School crisis in 2007.

    Where were we?Right, you and I left off in October 2017, when my first book came out. The weeks before were filled with dreams of loss. Pets dying. My husband leaving me. Babies not being born. My therapist told me it was my soul preparing for my true self to emerge after letting go of my grief. I had finally spoken openly about my fertility journey. I was having second thoughts—in fact, so many thoughts they were organizing to go on strike. But I knew I had to be honest because I didn’t want other women going through IVF to feel as alone as I did. I had suffered in isolation, having so many miscarriages that I could not give an exact number. Strangers shared their own journeys and heartbreak with me. I had led with the truth, and it opened the door to compassion.When I released We’re Going to Need More Wine, the response was so great people asked when I would do a sequel. The New York Times even ran a headline reading “We’re Going to Need More Gabrielle Union.” Frankly, after being so open and honest in my writing, I wasn’t sure there was more of me I was ready to share. But life happens with all its plot twists. And new stories demand to be told. This time, I need to be more vulnerable—not so much for me, but anyone who feels alone in what they’re going through.A lot has changed in four years—I became a mom and I’m raising two amazing girls. My husband retired. My career has expanded so that I have the opportunity to lift up other voices that need to be heard. But the world has also shown us that we have a lot we still have to fight for—as women, as black women, as mothers, as aging women, as human beings, as friends. In You Got Anything Stronger?, I show you how this ever-changing life presents challenges, even as it gives me moments of pure joy. I take you on a girl’s night at Chateau Marmont, and I also talk to Isis, my character from Bring It On. For the first time, I truly open up about my surrogacy journey and the birth of Kaavia James Union Wade. And I take on racist institutions and practices in the entertainment industry, asking for equality and real accountability.You Got Anything Stronger? is me at my most vulnerable. I have recently found true strength in that vulnerability, and I want to share that power with you here, through this book.

    Dealing with these losses, one after another, made Jesmyn ask the question: why? And as she began to write about the experience of living through all the dying, she realized the truth--and it took her breath away. Her brother and her friends all died because of who they were and where they were from, because they lived with a history of racism and economic struggle that fostered drug addiction and the dissolution of family and relationships. Jesmyn says the answer was so obvious she felt stupid for not seeing it. But it nagged at her until she knew she had to write about her community, to write their stories and her own. Jesmyn grew up in poverty in rural Mississippi. She writes powerfully about the pressures this brings, on the men who can do no right and the women who stand in for family in a society where the men are often absent. She bravely tells her story, revisiting the agonizing losses of her only brother and her friends. As the sole member of her family to leave home and pursue high education, she writes about this parallel American universe with the objectivity distance provides and the intimacy of utter familiarity.

    Listening to his sermons, sharing coconut-flavored ices on their walks through town, roaming through the house that held together many members of a colorful extended family, Edwidge grew profoundly attached to Joseph. He was the man who “knew all the verses for love.” And so she experiences a jumble of emotions when, at twelve, she joins her parents in New York City. She is at last reunited with her two youngest brothers, and with her mother and father, whom she has struggled to remember. But she must also leave behind Joseph and the only home she’s ever known. Edwidge tells of making a new life in a new country while fearing for the safety of those still in Haiti as the political situation deteriorates. But Brother I’m Dying soon becomes a terrifying tale of good people caught up in events beyond their control. Late in 2004, his life threatened by an angry mob, forced to flee his church, the frail, eighty-one-year-old Joseph makes his way to Miami, where he thinks he will be safe. Instead, he is detained by U.S. Customs, held by the Department of Homeland Security, brutally imprisoned, and dead within days. It was a story that made headlines around the world. His brother, Mira, will soon join him in death, but not before he holds hope in his arms: Edwidge’s firstborn, who will bear his name—and the family’s stories, both joyous and tragic—into the next generation. Told with tremendous feeling, this is a true-life epic on an intimate scale: a deeply affecting story of home and family—of two men’s lives and deaths, and of a daughter’s great love for them both.

    Born to parents who were former-slaves Florence knew early on that she loved to sing. And that people really responded to her sweet, bird-like voice. Her dancing and singing catapulted her all the way to the stages of 1920s Broadway where she inspired songs and even entire plays! Yet with all this success, she knew firsthand how bigotry shaped her world. And when she was offered the role of a lifetime from Ziegfeld himself, she chose to support all-black musicals instead.Fans of When Marian Sang and Ella Fitzgerald: The Tale of a Vocal Virtuosa will jump at the chance to discover another talented performer whose voice transcended and transformed the circumstances society placed on her.

    Addressing his fifteen-year-old namesake on the one hundredth anniversary of the Emancipation Proclamation, Baldwin wrote: “You know and I know, that the country is celebrating one hundred years of freedom one hundred years too soon.”Award-winning author Jesmyn Ward knows that Baldwin’s words ring as true as ever today. In response, she has gathered short essays, memoir, and a few essential poems to engage the question of race in the United States. And she has turned to some of her generation’s most original thinkers and writers to give voice to their concerns.The Fire This Time is divided into three parts that shine a light on the darkest corners of our history, wrestle with our current predicament, and envision a better future. Of the eighteen pieces, ten were written specifically for this volume.In the fifty-odd years since Baldwin’s essay was published, entire generations have dared everything and made significant progress. But the idea that we are living in the post-Civil Rights era, that we are a “postracial” society, is an inaccurate and harmful reflection of a truth the country must confront. Baldwin’s “fire next time” is now upon us, and it needs to be talked about.

    A wild, lyrical, and anguished autobiography, in which Charles Mingus pays short shrift to the facts but plunges to the very bottom of his psyche, coming up for air only when it pleases him. Completed years before his death in 1979, this is the story of: growing up in the Watts, Los Angeles of the 1920s and 30s, ruled by a strap-wielding father and Bible-quoting stepmother; Mingus's outcast adolescent years ("a yella kid, running with the mongrels"); his apprenticeship, not only with jazzmen, but also with pimps, hookers, junkies and hoodlums; and his golden years in New York City with such legendary figures as Duke Ellington, Lionel Hampton, Miles Davis, Charlie Parker and Billie Holiday. Here is Mingus in his own words, from shabby roadhouses to fabulous estates, from the psychiatric wards of Bellevue to worlds of mysticism and solitude. But for all his travels, he never strayed too far, always returning to the music.