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.

    Journalist Touré turns his ear to 100 prominent black Americans to create a provocative look at the state of race in America.

    Harris has spent much of her life researching the food and foodways of the African Diaspora. High on the Hog is the culmination of years of her work, and the result is a most engaging history of African American cuisine. Harris takes the reader on a harrowing journey from Africa across the Atlantic to America, tracking the trials that the people and the food have undergone along the way. From chitlins and ham hocks to fried chicken and vegan soul, Harris celebrates the delicious and restorative foods of the African American experience and details how each came to form such an important part of African American culture, history, and identity. Although the story of African cuisine in America begins with slavery, High on the Hog ultimately chronicles a thrilling history of triumph and survival. The work of a masterful storyteller and an acclaimed scholar, Jessica B. Harris's High on the Hog fills an important gap in our culinary history. Praise for Jessica B. Harris: "Jessica Harris masters the ability to both educate and inspire the reader in a fascinating new way." -Marcus Samuelsson, chef owner of Restaurant Aquavit

    At the close of the 19th century, a black woman of the South presents womanhood as a vital element in the regeneration and progress of her race.

    And as the Englishman became the colonial, and then the revolutionary patriot, and finally the citizen of a new nation, seeking to find his identity in a new land, he created chattel slavery and was in turn confronted by it.White Over Black is Winthrop D. Jordan's masterly study of that process, from the 16th century through the early years of the Republic.

    But today the situation has grown even more dire. From the murders of black youth by the police, to the dismantling of the Voting Rights Act, to the disaster visited upon poor and middle-class black families by the Great Recession, it is clear that black America faces an emergency—at the very moment the election of the first black president has prompted many to believe we’ve solved America’s race problem. Democracy in Black is Eddie S. Glaude Jr.'s impassioned response. Part manifesto, part history, part memoir, it argues that we live in a country founded on a “value gap”—with white lives valued more than others—that still distorts our politics today. Whether discussing why all Americans have racial habits that reinforce inequality, why black politics based on the civil-rights era have reached a dead end, or why only remaking democracy from the ground up can bring real change, Glaude crystallizes the untenable position of black America--and offers thoughts on a better way forward. Forceful in ideas and unsettling in its candor, Democracy In Black is a landmark book on race in America, one that promises to spark wide discussion as we move toward the end of our first black presidency.

    Loewen, exposes the secret communities and hotbeds of racial injustice that sprung up throughout the twentieth century unnoticed, forcing us to reexamine race relations in the United States.In this groundbreaking work, bestselling sociologist James W. Loewen, author of the national bestseller Lies My Teacher Told Me, brings to light decades of hidden racial exclusion in America. In a provocative, sweeping analysis of American residential patterns, Loewen uncovers the thousands of “sundown towns”—almost exclusively white towns where it was an unspoken rule that blacks could not live there—that cropped up throughout the twentieth century, most of them located outside of the South. These towns used everything from legal formalities to violence to create homogenous Caucasian communities—and their existence has gone unexamined until now. For the first time, Loewen takes a long, hard look at the history, sociology, and continued existence of these towns, contributing an essential new chapter to the study of American race relations.Sundown Towns combines personal narrative, history, and analysis to create a readable picture of this previously unknown American institution all written with Loewen’s trademark honesty and thoroughness.

    He fell into the life of a sugar plantation owner by mere chance, but by the time he harvested his first crop, a revolution was fully under way: the farming of sugar cane, and the swiftly increasing demands for sugar worldwide, would not only lift George Ashby from abject poverty and shape the lives of his descendants, but it would also bind together ambitious white entrepreneurs and enslaved black workers in a strangling embrace. Stuart uses her own family story—from the seventeenth century through the present—as the pivot for this epic tale of migration, settlement, survival, slavery and the making of the Americas.As it grew, the sugar trade enriched Europe as never before, financing the Industrial Revolution and fueling the Enlightenment. And, as well, it became the basis of many economies in South America, played an important part in the evolution of the United States as a world power and transformed the Caribbean into an archipelago of riches. But this sweet and hugely profitable trade--“white gold,” as it was known--had profoundly less palatable consequences in its precipitation of the enslavement of Africans to work the fields on the islands and, ultimately, throughout the American continents.Interspersing the tectonic shifts of colonial history with her family’s experience, Stuart explores the interconnected themes of settlement, sugar and slavery with extraordinary subtlety and sensitivity. In examining how these forces shaped her own family--its genealogy, intimate relationships, circumstances of birth, varying hues of skin--she illuminates how her family, among millions of others like it, in turn transformed the society in which they lived, and how that interchange continues to this day. Shifting between personal and global history, Stuart gives us a deepened understanding of the connections between continents, between black and white, between men and women, between the free and the enslaved. It is a story brought to life with riveting and unparalleled immediacy, a story of fundamental importance to the making of our world.

    Born of extreme racial and class conflicts, the blackface minstrel show sometimes usefully intensified them. Based on the appropriation of black dialect, music, and dance, minstrelsy at once applauded and lampooned black culture, ironically contributing to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery.

    Here was a space where blackness was taking part in shaping European identity ... A continent of Algerian flea markets, Surinamese shamanism, German Reggae and Moorish castles. Yes, all this was part of Europe too, and these were people and places it needed to understand and embrace if it wanted fully functional societies. And Black Europeans, too, need to demand the right to document and disseminate our stories ... With my brown skin and my British passport - still a ticket into mainland Europe at the time of writing - I set out in search of the Afropeans, on a cold October morning.'Afropean is an on-the-ground documentary of areas where Europeans of African descent are juggling their multiple allegiances and forging new identities. Here is an alternative map of the continent, taking the reader to places like Cova Da Moura, the Cape Verdean shantytown on the outskirts of Lisbon with its own underground economy, and Rinkeby, the area of Stockholm that is eighty per cent Muslim. Johny Pitts visits the former Patrice Lumumba University in Moscow, where West African students are still making the most of Cold War ties with the USSR, and Clichy Sous Bois in Paris, which gave birth to the 2005 riots, all the while presenting Afropeans as lead actors in their own story.

    Shocking as this sentence was, it was overturned only after intense international attention and the interference of an embarrassed John Foster Dulles. Soon after the United States' segregated military defeated a racist regime in World War II, American racism was a major concern of U.S. allies, a chief Soviet propaganda theme, and an obstacle to American Cold War goals throughout Africa, Asia, and Latin America. Each lynching harmed foreign relations, and the Negro problem became a central issue in every administration from Truman to Johnson.In what may be the best analysis of how international relations affected any domestic issue, Mary Dudziak interprets postwar civil rights as a Cold War feature. She argues that the Cold War helped facilitate key social reforms, including desegregation. Civil rights activists gained tremendous advantage as the government sought to polish its international image. But improving the nation's reputation did not always require real change. This focus on image rather than substance--combined with constraints on McCarthy-era political activism and the triumph of law-and-order rhetoric--limited the nature and extent of progress.Archival information, much of it newly available, supports Dudziak's argument that civil rights was Cold War policy. But the story is also one of people: an African-American veteran of World War II lynched in Georgia; an attorney general flooded by civil rights petitions from abroad; the teenagers who desegregated Little Rock's Central High; African diplomats denied restaurant service; black artists living in Europe and supporting the civil rights movement from overseas; conservative politicians viewing desegregation as a communist plot; and civil rights leaders who saw their struggle eclipsed by Vietnam.Never before has any scholar so directly connected civil rights and the Cold War. Contributing mightily to our understanding of both, Dudziak advances--in clear and lively prose--a new wave of scholarship that corrects isolationist tendencies in American history by applying an international perspective to domestic affairs.

    The night of May 25, 2020 changed America. George Floyd, a 43-year-old Black man, was killed during an arrest in Minneapolis when a white cop suffocated him. The video of that night’s events went viral, sparking the largest protests in the nation’s history and the sort of social unrest we have not seen since the sixties. While Floyd’s death was certainly the catalyst, (heightened by the fact that it occurred during a pandemic whose victims were disproportionately of color) it was in truth the fuse that lit an ever-filling powder keg.Long Time Coming grapples with the cultural and social forces that have shaped our nation in the brutal crucible of race. In five beautifully argued chapters—each addressed to a black martyr from Breonna Taylor to Rev. Clementa Pinckney—Dyson traces the genealogy of anti-blackness from the slave ship to the street corner where Floyd lost his life—and where America gained its will to confront the ugly truth of systemic racism. Ending with a poignant plea for hope, Dyson’s exciting new book points the way to social redemption. Long Time Coming is a necessary guide to help America finally reckon with race.

    From a Harvard law school student tackled by a security guard on the streets of Manhattan, a federal prosecutor detained while walking in his own neighborhood in Washington, DC, and a high school student in Colorado arrested for "loitering" in the subway station as he waits for the train home, to a bike rider in Austin, Texas, a professor at a Big Ten university in Iowa, and the head of the ACLU's racial profiling initiative (who was pursued by national guardsmen after arriving on the red-eye in Boston's Logan airport), here are true stories of law-abiding Americans who also happen to be black men (Publishers Weekly).Cumulatively, the effect is staggering, and will open the eyes of anyone who thinks we live in a "post-racial" or "colorblind" America."Powerful." --Jet"This is raw testimony intended to vividly capture the invasions of privacy and the assaults on dignity that always accompany unreasonable government intrusion." --Kirkus Reviews

    She shows readers how this civil rights movement radical sought—for more than a half a century—to expose and eradicate the American racial-caste system in jobs, schools, public services, and criminal justice.

    As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls “racial innocence.” This phenomenon informed racial formation from the mid-19th century through the early 20th century.Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as “scriptive things” that invite or prompt historically located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions, from blackface minstrelsy to Uncle Tom’s Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how “innocence” gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.Writing in Children’s Literature, Philip Nel notes that Racial Innocence is “one of those rare books that shifts the paradigm—a book that, in years to come, will be recognized as a landmark in children’s literature and childhood studies.” In the journal Cultural Studies, reviewer Aaron C. Thomas says that Bernstein’s “theory of the scriptive thing asks us to see children as active participants in culture, and, in fact, as expert agents of the culture of childhood into which they have been interpellated. In this way, Bernstein is able not only to describe the effects of 19th-century radicalization on 21st century US culture, but also to illuminate the radicalized residues of our own childhoods in our everyday adult lives.” Racial Innocence was awarded the 2012 Outstanding Book Award from the Association for Theatre in Higher Education, and the award committee noted that the book “is a historiographic tour de force that traces a genealogy of the invention of the innocent (white) child and its racialized roots in 19th and 20th century U.S. popular culture.”