Taking us inside the New Orleans slave market, the largest in the nation, where 100,000 men, women, and children were packaged, priced, and sold, Walter Johnson transforms the statistics of this chilling trade into the human drama of traders, buyers, and slaves, negotiating sales that would alter the life of each. What emerges is not only the brutal economics of trading but the vast and surprising interdependencies among the actors involved.Using recently discovered court records, slaveholders' letters, nineteenth-century narratives of former slaves, and the financial documentation of the trade itself, Johnson reveals the tenuous shifts of power that occurred in the market's slave coffles and showrooms. Traders packaged their slaves by "feeding them up," dressing them well, and oiling their bodies, but they ultimately relied on the slaves to play their part as valuable commodities. Slave buyers stripped the slaves and questioned their pasts, seeking more honest answers than they could get from the traders. In turn, these examinations provided information that the slaves could utilize, sometimes even shaping a sale to their own advantage.Johnson depicts the subtle interrelation of capitalism, paternalism, class consciousness, racism, and resistance in the slave market, to help us understand the centrality of the "peculiar institution" in the lives of slaves and slaveholders alike. His pioneering history is in no small measure the story of antebellum slavery.

    Bridging black feminist theory with disability studies, Schalk demonstrates that this genre's political potential lies in the authors' creation of bodyminds that transcend reality's limitations. She reads (dis)ability in neo-slave narratives by Octavia Butler (Kindred) and Phyllis Alesia Perry (Stigmata) not only as representing the literal injuries suffered under slavery, but also as a metaphor for the legacy of racial violence. The fantasy worlds in works by N. K. Jemisin, Shawntelle Madison, and Nalo Hopkinson—where werewolves have obsessive-compulsive-disorder and blind demons can see magic—destabilize social categories and definitions of the human, calling into question the very nature of identity. In these texts, as well as in Butler’s Parable series, able-mindedness and able-bodiedness are socially constructed and upheld through racial and gendered norms. Outlining (dis)ability's centrality to speculative fiction, Schalk shows how these works open new social possibilities while changing conceptualizations of identity and oppression through nonrealist contexts.

    More than a journey through a turbulent time in American history, this is the story of a black woman's battle to define herself.

    It is 1953 and Pearlie, a dutiful housewife, finds herself living in the Sunset district of San Francisco, caring not only for her husband’s fragile health but also for her son, who is afflicted with polio. Then, one Saturday morning, a stranger appears on her doorstep and everything changes. All the certainties by which Pearlie has lived are thrown into doubt. Does she know her husband at all? And what does the stranger want in return for his offer of $100,000? For six months in 1953, young Pearlie Cook struggles to understand the world around her, most especially her husband, Holland. Pearlie’s story is a meditation not only on love but also on the effects of war—with one war just over and another one in Korea coming to a close. Set in a climate of fear and repression—political, sexual, and racial—The Story of a Marriage portrays three people trapped by the confines of their era, and the desperate measures they are prepared to take to escape it. Lyrical and surprising, The Story of a Marriage looks back at a period that we tend to misremember as one of innocence and simplicity.

    Life is hell for all the slaves, but especially bad for Cora; an outcast even among her fellow Africans, she is coming into womanhood—where even greater pain awaits. When Caesar, a recent arrival from Virginia, tells her about the Underground Railroad, they decide to take a terrifying risk and escape. Matters do not go as planned—Cora kills a young white boy who tries to capture her. Though they manage to find a station and head north, they are being hunted.In Whitehead’s ingenious conception, the Underground Railroad is no mere metaphor—engineers and conductors operate a secret network of tracks and tunnels beneath the Southern soil. Cora and Caesar’s first stop is South Carolina, in a city that initially seems like a haven. But the city’s placid surface masks an insidious scheme designed for its black denizens. And even worse: Ridgeway, the relentless slave catcher, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom.Like the protagonist of Gulliver’s Travels, Cora encounters different worlds at each stage of her journey—hers is an odyssey through time as well as space. As Whitehead brilliantly re-creates the unique terrors for black people in the pre–Civil War era, his narrative seamlessly weaves the saga of America from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once a kinetic adventure tale of one woman’s ferocious will to escape the horrors of bondage and a shattering, powerful meditation on the history we all share.

    2.

    Her trust issues have made her vow to swear off relationships completely, but deep down she knows her heart is in need of a good man. 
 The once perfect relationship Keyon Jones shared with his ex-girlfriend changed dramatically overnight and left him with a broken heart and a promise to be a player for the rest of his days, but whether he wants to admit it or not, deep down he knows he is in need of a woman who will love him and never leave. 
 Sounds like they’re the perfect match, doesn’t it? 
Too bad getting together won’t be an easy task for the two. 
Bria and Keyon’s broken hearts and trust issues limit their wills to love again and leave them with the choice to love or to lose each other. Which one will they choose?

    However, of equal interest are the rare stories of those captives who did not wish to escape but were forcibly rescued. One such story is that of Cynthia Ann Parker, mother of famous Comanche Chief Quanah Parker. In 1860, Comanches led by Chief Peta Nocona conducted numerous raids on various Texas settlements, culminating in the brutal violence. Texas Ranger Captain and future governor Lawrence S. Ross responded to these raids by attacking a Comanche camp on Pease River. Caught fleeing the destroyed Comanche camp was a woman with blue eyes who could not speak English and did not remember her birth name or details of her life prior to joining the Comanche. She proved to be Cynthia Ann Parker, taken prisoner by Comanches at the fall of Parker's Fort 24 years before. She had married a young Comanche chief named Peta Nocona, and had two boys and a baby girl. One of her sons, Quanah Parker, became one of the greatest Comanche chiefs of all time. In 1886, James T. DeShields published the book "Cynthia Ann Parker: The Story of Her Capture," which recounts events he had masterfully pieced together from narratives furnished Ross, various Parker relatives, together with most of the numerous partial accounts of the fall of Parker’s Fort and subsequent relative events. In describing Parker's return to her family, DeShields writes: "But as savage-like and dark of complexion as she was, Cynthia Ann was still dear to her overjoyed uncle, and was welcomed home by relatives with all the joyous transports with which the prodigal son was hailed upon his miserable return to the parental roof. As thorough an Indian in manner and looks as if she had been so born, she sought every opportunity to escape, and had to be closely watched...." About the author James Thomas DeShields (1861-1948), was a Texas historian and author of historical works including: • Border Wars of Texas • Two months in the camp of Big Bear • They Sat in High Places: The Presidents and Governors of Texas • The Fall of Parker's Fort • The Fergusons, "Jim and Ma"

    Although the sisters are as different as night and day, they were taught by their father that it's always family over everything. Diem, the foul-mouthed tycoon and oldest of the three, can't seem to balance her multimillion-dollar business and personal life at the same time. Never one to back down from a challenge, her world is flipped upside down when the brother of a close friend unexpectedly catches her attention and has her questioning whether it's possible to have a romantic relationship while managing an already chaotic life. Drea has always had a thing for hot boys with big toys, especially since she totes one of her own. Whether she's at her flower shop making beautiful floral arrangements or at the gun range perfecting her skills, this quiet storm never misses her mark. That is, until a mysterious and sexy ally comes into her place of business and knocks her off her square. Ophelia loves only three things in this world: her family, her bikes, and the club. Nothing or nobody has ever come between them. She has a temper known to go from zero to one hundred in a matter of seconds, but riding and restoring bikes help to ease her mind. The two pastimes easily turn into three when a restoration job goes from strictly business to extremely personal. These ladies demand respect, not only for themselves, but for their club as well. When enemies start to surface, personalities will clash, and family motives will be questioned. Will the pressure cause these Angels to fall, or will they rise to the occasion like they've done time and time again?

    Riley's fierce New York career and Asher's lucrative Phoenix sports agency are the perfect balance to their sexy, satisfying marriage. Which is what makes Asher's sudden ultimatum to Riley--leave New York or leave him--so shocking. And Riley has an even bigger surprise in store, forcing her to decide where her heart and future really lie....Brokering million-dollar deals is easy for Asher; living apart from his wife isn't. But can Asher walk away from everything he's worked for? Or will ambition and drive--the things they love most about each other--tear Riley and Asher apart?Perhaps changing priorities will make this couple fly even higher....

    Here Girard explores violence as it is represented and occurs throughout history, literature and myth. Girard's forceful and thought-provoking analyses of Biblical narrative, Greek tragedy and the lynchings and pogroms propagated by contemporary states illustrate his central argument that violence belongs to everyone and is at the heart of the sacred.

    All combining to make one full series. When you take the Urban life of Atlanta, and combine it with the drama filled life of students on HBCU (Historically black colleges, and Universities," anything can happen. Black Greek probates, parties, love, heartbreak, cheating, and men on the down low. All goes down in this 4 part series. No other words to describe this book. Better than Reality TV.

    He's trying to stay afloat and run his empire alongside his mentor, Grant, when he happens to stumble across Montana. Neither of them are looking for love, but once they cross paths they become inseparable. Montana King is living the life that every girl dreams of until her dad is arrested by the Feds. Forced to move out of Atlanta and relocate to New York City with her uncle, Montana has no choice, but to leave everything and everybody she once knew. Little does Money know, but Montana has a few secrets of her own that could cause a shift in Money’s life. Will Money and Montana’s love be able to survive all the secrets that surround them? Or, will it cause them both to meet an untimely fate?

    Among the contents are essays about other writers, accounts of the civil rights movement of the 1960s and the antinuclear movement of the 1980s, and a vivid memoir of a scarring childhood injury and her daughter's healing words.

    Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.This is a book no reader, writer or speaker should be without.