Is this self-segregation a problem to address or a coping strategy? Beverly Daniel Tatum, a renowned authority on the psychology of racism, argues that straight talk about our racial identities is essential if we are serious about enabling communication across racial and ethnic divides. These topics have only become more urgent as the national conversation about race is increasingly acrimonious. This fully revised edition is essential reading for anyone seeking to understand the dynamics of race in America.

    From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders.An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.

    For Patrisse, the most vulnerable people in the country are Black people. Deliberately and ruthlessly targeted by a criminal justice system serving a white privilege agenda, Black people are subjected to unjustifiable racial profiling and police brutality. In 2013, when Trayvon Martin’s killer went free, Patrisse’s outrage led her to co-found Black Lives Matter with Alicia Garza and Opal Tometi.Condemned as terrorists and as a threat to America, these loving women founded a hashtag that birthed the movement to demand accountability from the authorities who continually turn a blind eye to the injustices inflicted upon people of Black and Brown skin. Championing human rights in the face of violent racism, Patrisse is a survivor. She transformed her personal pain into political power, giving voice to a people suffering in equality and a movement fueled by her strength and love to tell the country—and the world—that Black Lives Matter.When They Call You a Terrorist is Patrisse Khan-Cullors and asha bandele’s reflection on humanity. It is an empowering account of survival, strength and resilience and a call to action to change the culture that declares innocent Black life expendable.

    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.

    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.

    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.

    Wells housing project.Set against the stunning photographs of a talented young photographer from the projects, Our America evokes the unforgiving world of these two amazing young men, and their struggle to survive unrelenting tragedy. With a gift for clear-eyed journalism, they tell their own stories and others, including that of the death of Eric Morse, a five-year-old who was dropped to his death from the fourteenth floor of an Ida B. Wells apartment building by two other little boys. Sometimes funny, often painful, but always charged with their dream of Our America, LeAlan Jones and Lloyd Newman reach out to grab your attention and break your heart.

    Most people know one another; if not by name, then by face. And yet neighbours do not ask one another what they did in Liberia, for the question is considered an accusation. Many people here fled Liberia's brutal civil war, a conflict that claimed the lives of one in fourteen Liberians. The question of who is responsible is a bitter one. Jacob Massaquoi arrived on Park Hill Avenue in 2002 limping heavily. Before he had been there a week, a hundred stories abounded about his injury. By this time Rufus Arkoi was the acknowledged leader of New York's Liberians, a man who had sat out the war in America, but who harboured hopes of one day returning home to run for president. Within a year the two men were locked in a conflict that threatened to consume the community. The suspicions and accusations the residents had bottled up for years exploded at once. To observers it appeared that this enclave of exiles was frozen at the time of their flight, restarting a war that had ended back home.Jonny Steinberg spent two years in New York shadowing Rufus and Jacob, eventually journeying to Liberia to piece together their biographies from the people who once knew them. What emerges is a story of a horrific and heart-wrenching civil war, of a deeply troubled relationship between America and West Africa, of personal ambition wrestling with moral responsibility, of memory wrestling with forgetfulness and of the quest to be human in a world losing its humanity. Mixing history, reportage and a wealth of extraordinary personal stories Jonny Steinberg takes up the tale of a fractured African nation and its diaspora to remarkable effect. Little Liberia is a unique and important book, told with clarity and compassion, by one of our best and brightest young writers.

    That Albert Woodfox survived was, in itself, a feat of extraordinary endurance against the violence and deprivation he faced daily. That he was able to emerge whole from his odyssey within America’s prison and judicial systems is a triumph of the human spirit, and makes his book a clarion call to reform the inhumanity of solitary confinement in the U.S. and around the world.

    While most untouchables are illiterate, her family was educated by Canadian missionaries in the 1930s, making it possible for Gidla to attend elite schools and move to America at the age of twenty-six. It was only then that she saw how extraordinary—and yet how typical—her family history truly was. Her mother, Manjula, and uncles Satyam and Carey were born in the last days of British colonial rule. They grew up in a world marked by poverty and injustice, but also full of possibility. In the slums where they lived, everyone had a political side, and rallies, agitations, and arrests were commonplace. The Independence movement promised freedom. Yet for untouchables and other poor and working people, little changed. Satyam, the eldest, switched allegiance to the Communist Party. Gidla recounts his incredible life—how he became a famous poet, student, labor organizer, and founder of a left-wing guerrilla movement. And Gidla charts her mother’s battles with caste and women’s oppression. Page by page, Gidla takes us into a complicated, close-knit family as they desperately strive for a decent life and a more just society.A moving portrait of love, hardship, and struggle, Ants Among Elephants is also that rare thing: a personal history of modern India told from the bottom up.

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

    The message resonated with millions across the country. Yet many of our political, social, and economic institutions are still embedded with racist policies and practices that devalue black lives. Stay Woke directly addresses these stark injustices and builds on the lessons of racial inequality and intersectionality the Black Lives Matter movement has challenged its fellow citizens to learn.In this essential primer, Tehama Lopez Bunyasi and Candis Watts Smith inspire readers to address the pressing issues of racial inequality, and provide a basic toolkit that will equip readers to become knowledgeable participants in public debate, activism, and politics.This book offers a clear vision of a racially just society, and shows just how far we still need to go to achieve this reality. From activists to students to the average citizen, Stay Woke empowers all readers to work toward a better future for black Americans.

    Drawing on his own story as well as on dozens more from individuals who share his experience, award-winning journalist Alfred Lubrano sheds light on the predicament of some 13 million Americans: reconciling their blue-collar upbringing with the white-collar world they now inhabit.The profiles here show a remarkable consistency of emotion and experience across a diverse demographic that crosses all boundaries of sex, race, and religion. Opening a long-awaited dialogue, Limbo reflects the reality of a unique class struggling with an all-American brand of cultural isolation. There is something for everyone in these honest and eloquent stories of life in our modern meritocracy.

    One likes him almost immediately, both for his character, his honesty, and integrity and for his singular, unbending self-accountability.    He gets on well with almost everyone he meets - becoming the bane of those who cheat and lie and steal - and marries a woman he deserves and appreciates as much as he does the land that he explores and worships.     From the early 1900s until the present day, "Red" Sorensen recounts with exquisitely detailed descriptiveness his wilderness adventures and all-too-frequent brushes with mortal danger, whether from ubiquitous mountain predators, natural catastrophes, foolish fellow men, or his planes that seem to crash too often.     I find myself in awe of this man, and I admire his wife who kept up with him; It takes a special kind of women to love a man extraordinary as Red. If you sign up for his ride, prepare to be awestruck by the country he guides you through, and the quality of this man called simple "Red."Become part of a rapidly Vanishing Time and a rapidly Vanishing Place,      BUY NOW

    The guitarist Chuck Brown, the "Godfather of Go-Go," created the music by mixing sounds borrowed from church and the blues with the funk and flavor that he picked up playing for a local Latino band. Born in the inner city, amid the charred ruins of the 1968 race riots, go-go generated a distinct culture and an economy of independent, almost exclusively black-owned businesses, which sold tickets to shows and performance recordings. At the peak of its popularity, in the 1980s, go-go could be heard around the capital every night of the week, on college campuses and in crumbling historic theaters, hole-in-the-wall nightclubs, back yards, and city parks.Go-Go Live is a social history of black Washington told through its go-go music and culture. Encompassing dance moves, nightclubs, and fashion, as well as the voices of artists, fans, business owners, and politicians, Natalie Hopkinson's Washington-based narrative reflects the broader history of race in urban America in the second half of the twentieth century and the early twenty-first. In the 1990s, the middle class that had left the city for the suburbs in the postwar years, began to return. Gentrification drove up property values and pushed go-go into D.C.'s suburbs. The Chocolate City is in decline, but its heart, D.C.'s distinctive go-go musical culture, continues to beat. On any given night, there's live go-go in the D.C. metro area.Natalie Hopkinson, a contributing editor to the online magazine The Root, teaches journalism at Georgetown University and directs the Future of the Arts and Society project as a fellow of the Interactivity Foundation. A former writer and editor at the Washington Post, she is the author, with Natalie Y. Moore, of Deconstructing Tyrone: A New Look at Black Masculinity in the Hip-Hop Generation. She has contributed to the Wall Street Journal, the New York Times, and TheAtlantic.com and done commentary for NPR and the BBC."Natalie Hopkinson knows the music, the heartbeat, and the people of Washington well, but Go-Go Live: The Musical Life and Death of a Chocolate City is much more than a book about D.C.'s indigenous sound. It is a vital, lively, and ultimately inspiring look at the evolution of an American city."—George Pelecanos "Black Washington, D.C., has a famously rich history and culture. Natalie Hopkinson has an established reputation as one of the most sophisticated commentators on contemporary black culture in the capital city. Go-Go Live is not only a fascinating account of a musical culture, but also a social and cultural history of black Washington in the post–civil rights era."—Mark Anthony Neal, author of New Black Man"Go-Go Live is not just a fantastic read, but THE definitive study of D.C.'s most overlooked and unheralded art form. Natalie Hopkinson captures the soul of the city."—Dana Flor, codirector of The Nine Lives of Marion Barry"Go-Go Live is a terrific and important piece of work. Music, race, and the city are three key pivot points of our society, and Natalie Hopkinson pulls them together in a unique and powerful way. I have long adored Washington, D.C.'s go-go music. This book helped me understand the history of the city and the ways that it reflects the whole experience of race and culture in our society. It puts music front and center in the analysis of our urban experience, something which has been too long in coming."—Richard Florida, author of The Rise of the Creative Class and director of the Martin Prosperity Institute at the Rotman School of Management, University of Toronto