By sharing her sometimes cringe-worthy struggle to understand racism and racial tensions, she offers a fresh perspective on bias, stereotypes, manners, and tolerance. As Irving unpacks her own long-held beliefs about colorblindness, being a good person, and wanting to help people of color, she reveals how each of these well-intentioned mindsets actually perpetuated her ill-conceived ideas about race. She also explains why and how she's changed the way she talks about racism, works in racially mixed groups, and understands the antiracism movement as a whole. Exercises at the end of each chapter prompt readers to explore their own racialized ideas. Waking Up White's personal narrative is designed to work well as a rapid read, a book group book, or support reading for courses exploring racial and cultural issues.

    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.

    Ferguson. The 1896 ruling embraced racial segregation, and its reverberations are still felt today. Drawing on letters, diaries, and archival collections, Steve Luxenberg reveals the origins of racial separation and its pernicious grip on American life. He tells the story through the lives of the people caught up in the case: Louis Martinet, who led the resisters from the mixed-race community of French New Orleans; Albion Tourgée, a best-selling author and the country’s best-known white advocate for civil rights; Justice Henry Billings Brown, from antislavery New England, whose majority ruling sanctioned separation; Justice John Harlan, the Southerner from a slaveholding family whose singular dissent cemented his reputation as a steadfast voice for justice. Sweeping, swiftly paced, and richly detailed, Separate is an urgently needed exploration of our nation’s most devastating divide.

    It enjoins us to see no stranger but instead look at others and say: You are part of me I do not yet know. Starting from that place of wonder, the world begins to change: It is a practice that can transform a relationship, a community, a culture, even a nation. Kaur takes readers through her own riveting journey—as a brown girl growing up in California farmland finding her place in the world; as a young adult galvanized by the murders of Sikhs after 9/11; as a law student fighting injustices in American prisons and on Guantánamo Bay; as an activist working with communities recovering from xenophobic attacks; and as a woman trying to heal from her own experiences with police violence and sexual assault. Drawing from the wisdom of sages, scientists, and activists, Kaur reclaims love as an active, public, and revolutionary force that creates new possibilities for ourselves, our communities, and our world. See No Stranger helps us imagine new ways of being with each other—and with ourselves—so that together we can begin to build the world we want to see.

    In this startling new edition of his work, Whitman biographer Gary Schmidgall presents over two hundred poems in their original pristine form, in the chronological order in which they were written, with Whitman's original line breaks and punctuation. Included in this volume are facsimilies of Whitman's original manuscripts, contemporary-- and generally blistering-- reviews of Whitman's poetry (not surprisingly Henry James hated it), and early pre-Leaves of Grass poems that return us to the physical Whitman, rejoicing-- sometimes graphically-- in homoerotic love.Unlike the many other available editions, all drawn from the final authorized or "deathbed" Leaves of Grass, this collection focuses on the exuberant poems Whitman wrote during the creative and sexual prime of his life, roughly between 1853 and 1860. These poems are faithfully presented as Whitman first gave them to the world-- fearless, explicit, and uncompromised-- before he transformed himself into America's respectable, mainstream Good Gray Poet through thirty years of revision, self-censorship, and suppression.Whitman admitted that his later poetry lacked the "ecstasy of statement" of his early verse. Revealing that ecstasy for the first time, this edition makes possible a major reappraisal of our nation's first great poet.

    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.

    The song-poems of this undisputed "bluesologist" triumphantly stand on their own, evoking the rhythm and urgency which have distinguished Gil Scott-Heron's career. This collection carries the reader from the global topics of political hypocrisy and the dangers posed by capitalist culture to painfully personal themes and the realities of modern day life. His message is black, political, historically accurate, urgent, uncompromising, and mature, and as relevant now as it was in the early 1970s.

    Alison Pick was born in the 1970s and raised in a supportive, loving family. She grew up laughing with her sister and cousins, and doting on her grandparents. Then as a teenager, Alison made a discovery that instantly changed her understanding of her family, and her vision for her own life, forever. She learned that her Pick grandparents, who had escaped from the Czech Republic during WWII, were Jewish--and that most of this side of the family had died in concentration camps. She also discovered that her own father had not known of this history until, in his twenties, he had a chance encounter with an old family friend--and then he, too, had kept the secret from Alison and her sister.In her early thirties, engaged to be married to her longtime boyfriend but struggling with a crippling depression, Alison slowly but doggedly began to research and uncover her Jewish heritage. Eventually she came to realize that her true path forward was to reclaim her history and identity as a Jew. But even then, one seemingly insurmountable problem remained: her mother wasn't Jewish, so technically Alison wasn't either. In this by times raw, by times sublime memoir, Alison recounts her struggle with the meaning of her faith, her journey to convert to Judaism, her battle with depression, and her path towards facing and accepting the past and embracing the future--including starting a new family of her own. This is her unusual and gripping story, told in crystalline prose and with all the nuance and drama of a novel, but illuminated with heartbreaking insight into the very real lives of the dead, and hard-won hope for the lives of all those who carry on after.

    She was called Hu Gu Po, and she hungered to eat children, especially their toes. Soon afterwards, Daughter awakes with a tiger tail. And more mysterious events follow: Holes in the backyard spit up letters penned by her grandmother; a visiting aunt arrives with snakes in her belly; a brother tests the possibility of flight. All the while, Daughter is falling for Ben, a neighborhood girl with strange powers of her own. As the two young lovers translate the grandmother’s letters, Daughter begins to understand that each woman in her family embodies a myth–and that she will have to bring her family’s secrets to light in order to change their destiny.With a poetic voice of crackling electricity, K-Ming Chang is an explosive young writer who combines the wit and fabulism of Helen Oyeyemi with the subversive storytelling of Maxine Hong Kingston. Tracing one family’s history from Taiwan to America, from Arkansas to California, Bestiary is a novel of migration, queer lineages, and girlhood.

    citizenship, Talusan found childhood comfort from her devoted grandmother, a grounding force as she was treated by others with special preference or public curiosity.As an immigrant to the United States, Talusan came to be perceived as white. An academic scholarship to Harvard provided access to elite circles of privilege but required Talusan to navigate through the complex spheres of race, class, sexuality, and her place within the gay community. She emerged as an artist and an activist questioning the boundaries of gender. Talusan realized she did not want to be confined to a prescribed role as a man, and transitioned to become a woman, despite the risk of losing a man she deeply loved.Throughout her journey, Talusan shares poignant and powerful episodes of desirability and love that will remind readers of works such as Call Me By Your Name and Giovanni's Room. Her evocative reflections will shift our own perceptions of love, identity, gender, and the fairness of life.

    Her father, the late Strom Thurmond, was once the nation's leading voice for racial segregation (one of his signature political achievements was his 24–hour filibuster against the Civil Rights Act of 1957, done in the name of saving the South from "mongrelization"). Her mother, however, was a black teenager named Carrie Butler who worked as a maid on the Thurmond family's South Carolina plantation.Set against the explosively changing times of the civil rights movement, this poignant memoir recalls how she struggled with the discrepancy between the father she knew–one who was financially generous, supportive of her education, even affectionate–and the Old Southern politician, railing against greater racial equality, who refused to acknowledge her publicly. From her richly told narrative, as well as the letters she and Thurmond wrote to each other over the years, emerges a nuanced, fascinating portrait of a father who counseled his daughter about her dreams and goals, and supported her in reaching them–but who was unwilling to break with the values of his Dixiecrat constituents.With elegance, dignity, and candor, Washington–Williams gives us a chapter of American history as it has never been written before–told in a voice that will be heard and cherished by future generations.

    The promise of escape draws people from all backgrounds to speculative fiction, but when people of color seek passageways into the fantastic, the doors are often barred. This problem lies not only with children’s publishing, but also with the television and film executives tasked with adapting these stories into a visual world. When characters of color do appear, they are often marginalized or subjected to violence, reinforcing for audiences that not all lives matter. The Dark Fantastic is an engaging and provocative exploration of race in popular youth and young adult speculative fiction. Grounded in her experiences as YA novelist, fanfiction writer, and scholar of education, Thomas considers four black girl protagonists from some of the most popular stories of the early 21st century: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from Suzanne Collins’s The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from J.K. Rowling’s Harry Potter. Analyzing their narratives and audience reactions to them reveals how these characters mirror the violence against black and brown people in our own world. In response, Thomas uncovers and builds upon a tradition of fantasy and radical imagination in Black feminism and Afrofuturism to reveal new possibilities. Through fanfiction and other modes of counter-storytelling, young people of color have reinvisioned fantastic worlds that reflect their own experiences, their own lives. As Thomas powerfully asserts, “we dark girls deserve more, because we are more.”

    And the reemergence of the white nationalist movement in America, complete with Nazi slogans and imagery, has been reminiscent of the horrific fascist displays of the 1930s. Throughout Europe, Jews have been attacked by terrorists, and some have been murdered.Where is all this hatred coming from? Is there any significant difference between left-wing and right-wing antisemitism? What role has the anti-Zionist movement played? And what can be done to combat the latest manifestations of an ancient hatred? In a series of letters to an imagined college student and imagined colleague, both of whom are perplexed by this resurgence, acclaimed historian Deborah Lipstadt gives us her own superbly reasoned, brilliantly argued, and certain to be controversial responses to these troubling questions.

    It was a time when Oscar Hayoun, a Jewish Arab, strode along the Nile in a fashionable suit after Shabbat services on his way to bring tobacco to his dying grandfather, long before Oscar and his father arrived at the port of Haifa to join the Zionist state only to find themselves first hosed down with DDT then left unemployed on the margins of society. In that time, Arabness was a mark of diverse cosmopolitanism, of intellectualism. Today, in the age of the Likud and ISIS, Massoud Hayoun, the Jewish Arab journalist that Oscar raised in Los Angeles, finds his voice by telling his family’s story.To reclaim a cosmopolitan, nuanced Arab identity is, for Hayoun, part of the larger project to recall a world before ethnic identity was mangled for political ends. It is also a journey deep into a lost age of sophisticated innocence in the Arab world; an age that until now could be witnessed only in the films his family treasured but that are now nearly lost amid the flood of culture.When We Were Arabs, a stunning debut that showcases the gorgeous prose of writer Massoud Hayoun, tells the stories of Oscar and Daida, bringing their worlds alive in vivid poetic prose, and in so doing shattering our contemporary understanding of what makes an Arab, what makes a Jew, and how we draw the lines between us over which we do battle.

    From a spectrum of backgrounds—urban and rural, wealthy and poor, mixed race, immigrants, and more—Black Enough showcases diversity within diversity.Whether it’s New York Times bestselling author Jason Reynolds writing about #blackboyjoy or Newberry Honor-winning author Renee Watson talking about black girls at camp in Portland, or emerging author Jay Coles’s story about two cowboys kissing in the south—Black Enough is an essential collection full of captivating coming-of-age stories about what it’s like to be young and black in America.