Over the next three months, 800,000 Tutsis were murdered in the most unambiguous case of genocide since Hitler's war against the Jews. Philip Gourevitch's haunting work is an anatomy of the killings in Rwanda, a vivid history of the genocide's background, and an unforgettable account of what it means to survive in its aftermath.

    But in her speech she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. Inspired by these few words, Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt—has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance.Abdurraqib writes prose brimming with jubilation and pain, infused with the lyricism and rhythm of the musicians he loves. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space—from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio.

    The poems weave between personal narrative and pop-cultural criticism, examining and confronting modern media, consumption, feminism, and Blackness. This collection explores femininity and race in the contemporary American political climate, folding in references from jazz standards, visual art, personal family history, and Hip Hop. The voice of this book is a multifarious one: writing and rewriting bodies, stories, and histories of the past, as well as uttering and bearing witness to the truth of the present, and actively probing toward a new self, an actualized self. This is a book at the intersections of mythology and sorrow, of vulnerability and posturing, of desire and disgust, of tragedy and excellence.

    For Fauziya Kassindja, an idyllic childhood in Togo, West Africa, sheltered from the tribal practices of polygamy and genital mutilation, ended with her beloved father's sudden death.  Forced into an arranged marriage at age seventeen, Fauziya was told to prepare for kakia, the ritual also known as female genital mutilation.  It is a ritual no woman can refuse.  But Fauziya dared to try.  This is her story--told in her own words--of fleeing Africa just hours before the ritual kakia was to take place, of seeking asylum in America only to be locked up in U.S.  prisons, and of meeting Layli Miller Bashir, a law student who became Fauziya's friend and advocate during her horrifying sixteen months behind bars.  Layli enlisted help from Karen Musalo, an expert in refugee law and acting director of the American University International Human Rights Clinic.  In addition to devoting her own considerable efforts to the case, Musalo assembled a team to fight with her on Fauziya's behalf.  Ultimately, in a landmark decision in immigration history, Fauziya Kassindja was granted asylum on June 13, 1996.  Do They Hear You When You Cry is her unforgettable chronicle of triumph.

    Since its initial publication in 1983, it has become an essential text on Black women's lives and writings. This edition features an updated lists of contributor biographies and an all-new preface that provides a fresh assessment of how Black women's lives have changed- or not- since the book was first published.Includes:For a godchild, Regina, on the occasion of her first love by Toi DerricotteThe damned by Toi DerricotteHester's song by Toi DerricotteThe sisters by Alexis De VeauxDebra by Michelle T. ClintonIf I could write this in fire, I would write this in fire by Michelle CliffThe blood - yes, the blood: a conversation by Cenen and Barbara SmithSomething Latino was up with us by Spring ReddI used to think by Chirlane McCrayThe black back-ups by Kate RushinHome by Barbara SmithUnder the days: the buried life and poetry of Angelina Weld Grimké by Akasha (Gloria) HullThe black lesbian in American literature: an overview by Ann Allen ShockleyArtists without art form by Renita WeemsI've been thinking of Diana Sands by Patricia JonesA cultural legacy denied and discovered : black lesbians in fiction by women by Jewelle L. GomezWhat it is I think she's doing anyhow: a reading of Toni Cade Bambara's The salt eaters by Akasha (Gloria) HullTar beach by Audre LordeBefore I dress and soar again by Donna AllegraLeRoy's birthday by Raymina Y. MaysThe wedding by Beverly SmithMaria de las Rosas by Becky BirthaMiss Esther's land by Barbara A. BanksThe failure to transform: homophobia in the black community by Cheryl ClarkeWhere will you be? by Pat ParkerAmong the things that use to be by Willie M. ColemanFrom sea to shining sea by June JordanWomen of summer by Cheryl ClarkeThe tired poem: last letter from a typical unemployed black professional woman by Kate RushinShoes are made for walking by Shirley O. SteeleBilly de Lye by Deidre McCallaThe Combahee River Collective statement by Combahee River CollectiveBlack macho and black feminism by Linda C. PowellBlack lesbianbyfeminist organizing: a conversation by Tania Abdulahad ... [et al.]For strong women by Michelle T. ClintonThe black goddess by Kate RushinWomen's spirituality: a household act by Luisah TeishOnly justice can stop a curse by Alice WalkerCoalition politics: turning the century by Bernice Johnson Reagon

    In this fascinating history of all the enslaved people, workers and entertainers who spent time in the president's official residence over the years, Clarence Lusane restores the White House to its true colors." --Barbara EhrenreichThe Black History of the White House presents the untold history, racial politics, and shifting significance of the White House as experienced by African Americans, from the generations of enslaved people who helped to build it or were forced to work there to its first black First Family, the Obamas.Clarence Lusane juxtaposes significant events in White House history with the ongoing struggle for democratic, civil, and human rights by black Americans and demonstrates that only during crises have presidents used their authority to advance racial justice. He describes how in 1901 the building was officially named the “White House” amidst a furious backlash against President Roosevelt for inviting Booker T. Washington to dinner, and how that same year that saw the consolidation of white power with the departure of the last black Congressmember elected after the Civil War. Lusane explores how, from its construction in 1792 to its becoming the home of the first black president, the White House has been a prism through which to view the progress and struggles of black Americans seeking full citizenship and justice.Dr. Clarence Lusane has published in The Washington Post, The Miami Herald, The Baltimore Sun, Oakland Tribune, Black Scholar, and Race and Class. He often appears on PBS, BET, C-SPAN, and other national media. The author of several books and former

    History, psychology, sociology, literature, economics, and education are explored, including discussions on Washingtonianism, Garveyism, Du Bois, Malcolm X, race and identity, Marxism, and breakthrough strategies.

    . . a blueprint for this moment and the next, for where Black folks have been and where they might be going."--The New York Times Book Review (Editors' Choice) What does it mean to be Black and alive right now? Kimberly Drew and Jenna Wortham have brought together this collection of work--images, photos, essays, memes, dialogues, recipes, tweets, poetry, and more--to tell the story of the radical, imaginative, provocative, and gorgeous world that Black creators are bringing forth today. The book presents a succession of startling and beautiful pieces that generate an entrancing rhythm: Readers will go from conversations with activists and academics to memes and Instagram posts, from powerful essays to dazzling paintings and insightful infographics.In answering the question of what it means to be Black and alive, Black Futures opens a prismatic vision of possibility for every reader.

    The upper middle class splendor in which she and her siblings so happily lived was made possible by her mother's business in the Numbers, the informal lottery that powered African American communities across the United States. A poignant and revealing examination of how one family lifted itself out of poverty and into a completely different life, for good and bad, The World According to Fannie Davis introduces us to an unforgettable matriarch, and her daughter, whose ways of understanding still resonate today.Offering a daughter's perspective on her larger-than-life mother, Bridgett Davis traces her family's story as part of the Great Migration, showing how her mother and father arrived in Detroit from Tennessee carrying with them not just their own hopes but also those of their families. A child gifted with extraordinary powers of perception and understanding, Davis breaks the code of secrecy around her mother's business and in so doing reveals both her mothers' extraordinary sacrifices as well as her seemingly endless generosity. We come to understand just how keenly Fannie Davis believed in the power of money, and family, to make the world right.Moving, suspenseful and emotionally rewarding, The World According to Fannie Davis will change the way you understand the lengths a mother will go to provide for her family, and the way those sacrifices resonate over time, offering not just a moving portrait of one American family, but also a new way of understanding Detroit.

    Now she uses that voice to deliver what is at once a fiercely candid autobiography and a survival manual for any African American woman determined to keep her heart open and her integrity intact in 1990s America.

    Perfectly positioned to bridge the gap between people of color and white Americans struggling with race complexities, Oluo answers the questions readers don't dare ask, and explains the concepts that continue to elude everyday Americans. Oluo is an exceptional writer with a rare ability to be straightforward, funny, and effective in her coverage of sensitive, hyper-charged issues in America. Her messages are passionate but finely tuned, and crystalize ideas that would otherwise be vague by empowering them with aha-moment clarity. Her writing brings to mind voices like Ta-Nehisi Coates and Roxane Gay, and Jessica Valenti in Full Frontal Feminism, and a young Gloria Naylor, particularly in Naylor's seminal essay "The Meaning of a Word."

    This new edition of Ar'n't I a Woman? reviews and updates the scholarship on slave women and the slave family, exploring new ways of understanding the intersection of race and gender and comparing the myths that stereotyped female slaves with the realities of their lives. Above all, this groundbreaking study shows us how black women experienced freedom in the Reconstruction South — their heroic struggle to gain their rights, hold their families together, resist economic and sexual oppression, and maintain their sense of womanhood against all odds.

    Soon after, the nine-year-old girl was separated from her mother and sold. Decades later, Ashley’s granddaughter Ruth embroidered this family history on the bag in spare yet haunting language—including Rose’s wish that “It be filled with my Love always.” Now, in this illuminating, deeply moving new book inspired by Rose’s gift to Ashley, historian Tiya Miles carefully unearths these women’s faint presence in archival records and draws on objects and art, to follow the paths of their lives—and the lives of so many women like them—in a singular and revelatory history of the experience of slavery, and the uncertain freedom afterward, in the United States.All That She Carried is a poignant story of resilience and of love passed down through generations of women against steep odds. It honors the creativity and fierce resourcefulness of people who preserved family ties even when official systems refused to do so.

    From blonde to ginger, the brown that changed the way battles were fought to the white that protected against the plague, Picasso's blue period to the charcoal on the cave walls at Lascaux, acid yellow to kelly green, and from scarlet women to imperial purple, these surprising stories run like a bright thread throughout history.In this book, Kassia St. Clair has turned her lifelong obsession with colors and where they come from (whether Van Gogh's chrome yellow sunflowers or punk's fluorescent pink) into a unique study of human civilization. Across fashion and politics, art and war, the secret lives of color tell the vivid story of our culture.

    As an employee for the state radio system, she had long wanted to help improve the lives of Chinese women. But when she was given clearance to host a radio call-in show, she barely anticipated the enthusiasm it would quickly generate. Operating within the constraints imposed by government censors, “Words on the Night Breeze” sparked a tremendous outpouring, and the hours of tape on her answering machines were soon filled every night. Whether angry or muted, posing questions or simply relating experiences, these anonymous women bore witness to decades of civil strife, and of halting attempts at self-understanding in a painfully restrictive society. In this collection, by turns heartrending and inspiring, Xinran brings us the stories that affected her most, and offers a graphically detailed, altogether unprecedented work of oral history.