He traces his father’s rise to become a friend of Stokely Carmichael and Martin Luther King, a civil rights hero, and a member of the Student Non-Violent Coordinating Committee (SNCC), to explore the plight of the South's dwindling rural, black working class―many of whom can trace their ancestry back for seven generations.In his poetic personal history, we are awakened to the crisis affecting the other “Forgotten Men & Women,” who the media seldom acknowledges. For Sellers, these are his family members, neighbors, and friends. He humanizes the struggles that shape their lives: to gain access to healthcare as rural hospitals disappear; to make ends meet as the factories they have relied on shut down and move overseas; to hold on to precious traditions as their towns erode; to forge a path forward without succumbing to despair.My Vanishing Country is also a love letter to fatherhood―to Sellers' father, his lodestar, whose life lessons have shaped him, and to his newborn twins, who he hopes will embrace the Sellers family name and honor its legacy.

    Culture Warlords is the story of how Lavin, a frequent target of extremist trolls (including those at Fox News), dove into a byzantine online culture of hate and learned the intricacies of how white supremacy proliferates online.Within these pages, she reveals the extremists hiding in plain sight online: Incels. White nationalists. White supremacists. National Socialists. Proud Boys. Christian extremists. In order to showcase them in their natural habitat, Talia assumes a range of identities, going undercover as a blonde Nazi babe, a forlorn incel, and a violent Aryan femme fatale. Along the way, she discovers a whites-only dating site geared toward racists looking for love, a disturbing extremist YouTube channel run by a fourteen-year-old girl with over 800,000 followers, the everyday heroes of the antifascist movement, and much more.By combining compelling stories chock-full of catfishing and gate-crashing with her own in-depth, gut-wrenching research, she also turns the lens of anti-Semitism, racism, and white power back on itself in an attempt to dismantle and decimate the online hate movement from within. Culture Warlords explores some of the vilest subcultures on the Web-and shows us how we can fight back.

    In this timely anthology, "well-read black girl" Glory Edim brings together original essays by some of our best black female writers and creative voices to shine a light on how we search for ourselves in literature, and how important it is that everyone--no matter their gender, race, religion, or abilities--can find themselves there. Whether it's learning about the complexities of femalehood from Their Eyes Were Watching God, seeing a new type of love in The Color Purple, or using mythology to craft an alternative black future, each essay reminds us why we turn to books in times of both struggle and relaxation. As she has done with her incredible book-club-turned-online-community Well-Read Black Girl, in this book, Edim has created a space where black women's writing and knowledge and life experiences are lifted up, to be shared with all readers who value the power of a story to help us understand the world, and ourselves.Contributors include: Jesmyn Ward (Sing Unburied Sing), Lynn Nottage (Sweat), Jacqueline Woodson (Another Brooklyn), Gabourey Sidibe (This Is Just My Face), Morgan Jerkins (This Will Be My Undoing), Zinzi Clemmons (What We Lose), N. K. Jemisin (The Fifth Season), Tayari Jones (An American Marriage), Nicole Dennis-Benn (Here Comes the Sun), Rebecca Walker (Black, White and Jewish), and more.

    Free love, common-law and transient marriages, serial partners, cohabitation outside of wedlock, queer relations, and single motherhood were among the sweeping changes that altered the character of everyday life and challenged traditional Victorian beliefs about courtship, love, and marriage. Hartman narrates the story of this radical social transformation against the grain of the prevailing century-old argument about the crisis of the black family.In wrestling with the question of what a free life is, many young black women created forms of intimacy and kinship that were indifferent to the dictates of respectability and outside the bounds of law. They cleaved to and cast off lovers, exchanged sex to subsist, and revised the meaning of marriage. Longing and desire fueled their experiments in how to live. They refused to labor like slaves or to accept degrading conditions of work.Beautifully written and deeply researched, Wayward Lives recreates the experience of young urban black women who desired an existence qualitatively different than the one that had been scripted for them—domestic service, second-class citizenship, and respectable poverty—and whose intimate revolution was apprehended as crime and pathology. For the first time, young black women are credited with shaping a cultural movement that transformed the urban landscape. Through a melding of history and literary imagination, Wayward Lives recovers their radical aspirations and insurgent desires.

    But street addresses were not invented to help you find your way; they were created to find you. In many parts of the world, your address can reveal your race and class.In this wide-ranging and remarkable book, Deirdre Mask looks at the fate of streets named after Martin Luther King Jr., the wayfinding means of ancient Romans, and how Nazis haunt the streets of modern Germany. The flipside of having an address is not having one, and we also see what that means for millions of people today, including those who live in the slums of Kolkata and on the streets of London. Filled with fascinating people and histories, The Address Book illuminates the complex and sometimes hidden stories behind street names and their power to name, to hide, to decide who counts, who doesn’t―and why.

    Adopted at birth by artistic parents who believed in peace, love, and zero population growth, her early childhood was loving and idyllic—and yet she couldn’t articulate the deep sense of isolation she increasingly felt as she grew older. Everything changed when she met her birth mother, a young white woman, who consistently undermined Carroll’s sense of her blackness and self-esteem. Carroll’s childhood became harrowing, and her memoir explores the tension between the aching desire for her birth mother’s acceptance, the loyalty she feels toward her adoptive parents, and the search for her racial identity. As an adult, Carroll forged a path from city to city, struggling along the way with difficult boyfriends, depression, eating disorders, and excessive drinking. Ultimately, through the support of her chosen black family, she was able to heal. Intimate and illuminating, Surviving the White Gaze is a timely examination of racism and racial identity in America today, and an extraordinarily moving portrait of resilience.

    A year later, he heard that the man had been murdered – and what was more, the killer was black.At first the murder seemed a twist on the old Deep South race crimes. But then more news rolled in. Maybe it was a dispute over money, or most intriguingly, over sex. Could the infamous racist actually have been secretly gay, with a thing for black men? Did Safran have the last footage of him alive? Could this be the story of a lifetime? Seizing his Truman Capote moment, he jumped on a plane to cover the trial.Over six months, Safran got deeper and deeper into the South, becoming entwined in the lives of those connected with the murder – white separatists, black campaigners, lawyers, investigators, neighbours, even the killer himself. And the more he talked with them, the less simple the crime, and the world, seemed.Murder in Mississippi is a brilliantly innovative true-crime story. Taking us places only he can, Safran paints an engrossing, revealing portrait of a dead man, his murderer, the place they lived and the process of trying to find out the truth about anything.

    "I am black--and brown, too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell."The storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into a coffee shop and, along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness."Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience").She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably . . . Race is the story of my life, and therefore black is the body of this book."And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love."

    With Assassination Vacation, she takes us on a road trip like no other—a journey to the pit stops of American political murder and through the myriad ways they have been used for fun and profit, for political and cultural advantage.From Buffalo to Alaska, Washington to the Dry Tortugas, Vowell visits locations immortalized and influenced by the spilling of politically important blood, reporting as she goes with her trademark blend of wisecracking humor, remarkable honesty, and thought-provoking criticism. We learn about the jinx that was Robert Todd Lincoln (present at the assassinations of Presidents Lincoln, Garfield, and McKinley) and witness the politicking that went into the making of the Lincoln Memorial. The resulting narrative is much more than an entertaining and informative travelogue—it is the disturbing and fascinating story of how American death has been manipulated by popular culture, including literature, architecture, sculpture, and—the author's favorite— historical tourism. Though the themes of loss and violence are explored and we make detours to see how the Republican Party became the Republican Party, there are all kinds of lighter diversions along the way into the lives of the three presidents and their assassins, including mummies, show tunes, mean-spirited totem poles, and a nineteenth-century biblical sex cult.

    The Skin We're In will spark a national conversation, influence policy, and inspire activists.In his 2015 cover story for Toronto Life magazine, Desmond Cole exposed the racist actions of the Toronto police force, detailing the dozens of times he had been stopped and interrogated under the controversial practice of carding. The story quickly came to national prominence, shaking the country to its core and catapulting its author into the public sphere. Cole used his newfound profile to draw insistent, unyielding attention to the injustices faced by Black Canadians on a daily basis.Both Cole’s activism and journalism find vibrant expression in his first book, The Skin We’re In. Puncturing the bubble of Canadian smugness and naive assumptions of a post-racial nation, Cole chronicles just one year—2017—in the struggle against racism in this country. It was a year that saw calls for tighter borders when Black refugees braved frigid temperatures to cross into Manitoba from the States, Indigenous land and water protectors resisting the celebration of Canada’s 150th birthday, police across the country rallying around an officer accused of murder, and more.The year also witnessed the profound personal and professional ramifications of Desmond Cole’s unwavering determination to combat injustice. In April, Cole disrupted a Toronto police board meeting by calling for the destruction of all data collected through carding. Following the protest, Cole, a columnist with the Toronto Star, was summoned to a meeting with the paper’s opinions editor and informed that his activism violated company policy. Rather than limit his efforts defending Black lives, Cole chose to sever his relationship with the publication. Then in July, at another police board meeting, Cole challenged the board to respond to accusations of a police cover-up in the brutal beating of Dafonte Miller by an off-duty police officer and his brother. When Cole refused to leave the meeting until the question was publicly addressed, he was arrested. The image of Cole walking out of the meeting, handcuffed and flanked by officers, fortified the distrust between the city’s Black community and its police force.Month-by-month, Cole creates a comprehensive picture of entrenched, systemic inequality. Urgent, controversial, and unsparingly honest, The Skin We’re In is destined to become a vital text for anti-racist and social justice movements in Canada, as well as a potent antidote to the all-too-present complacency of many white Canadians.

    Centuries after our nation was founded on genocide, settler colonialism, and slavery, many Americans are kinda-sorta-maybe waking up to the reality that our racial politics are (still) garbage. But in the midst of this reckoning, widespread denial and misunderstandings about race persist, even as white supremacy and racial injustice are more visible than ever before.Combining no-holds-barred social critique, humorous personal anecdotes, and analysis of the latest interdisciplinary scholarship on systemic racism, sociologist Crystal M. Fleming provides a fresh, accessible, and irreverent take on everything that's wrong with our "national conversation about race." Drawing upon critical race theory, as well as her own experiences as a queer black millennial college professor and researcher, Fleming unveils how systemic racism exposes us all to racial ignorance--and provides a road map for transforming our knowledge into concrete social change. Searing, sobering, and urgently needed, How to Be Less Stupid About Race is a truth bomb and call to action for everyone who wants to challenge white supremacy and intersectional oppression. If you like Issa Rae, Justin Simien, Angela Davis, and Morgan Jerkins, then this deeply relevant, bold, and incisive book is for you.

    In this much-anticipated follow-up to the bestselling UK edition, hailed by Zadie Smith as "lively and vital," editors Nikesh Shukla and Chimene Suleyman hand the microphone to an incredible range of writers whose humanity and right to be here is under attack. Chigozie Obioma unpacks an Igbo proverb that helped him navigate his journey to America from Nigeria.Jenny Zhang analyzes cultural appropriation in 90s fashion, recalling her own pain and confusion as a teenager trying to fit in.Fatimah Asghar describes the flood of memory and emotion triggered by an encounter with an Uber driver from Kashmir.Alexander Chee writes of a visit to Korea that changed his relationship to his heritage.These writers, and the many others in this singular collection, share powerful personal stories of living between cultures and languages while struggling to figure out who they are and where they belong. By turns heartbreaking and hilarious, troubling and uplifting, the essays in The Good Immigrant come together to create a provocative, conversation-sparking, multivocal portrait of America now.

    But this overwhelmingly white women's movement did not win the vote for most black women. Securing their rights required a movement of their own.In Vanguard, acclaimed historian Martha S. Jones offers a new history of African American women's political lives in America. She recounts how they defied both racism and sexism to fight for the ballot, and how they wielded political power to secure the equality and dignity of all persons. From the earliest days of the republic to the passage of the 1965 Voting Rights Act and beyond, Jones excavates the lives and work of black women—Maria Stewart, Frances Ellen Watkins Harper, Fannie Lou Hamer, and more—who were the vanguard of women's rights, calling on America to realize its best ideals.

    The week before she began high school came the news of Emmet Till's lynching. Before then, she had "known the fear of hunger, hell, and the Devil. But now there was...the fear of being killed just because I was black." In that moment was born the passion for freedom and justice that would change her life.An all-A student whose dream of going to college is realized when she wins a basketball scholarship, she finally dares to join the NAACP in her junior year. Through the NAACP and later through CORE and SNCC she has first-hand experience of the demonstrations and sit-ins that were the mainstay of the civil rights movement, and the arrests and jailings, the shotguns, fire hoses, police dogs, billy clubs and deadly force that were used to destroy it.A deeply personal story but also a portrait of a turning point in our nation's destiny, this autobiography lets us see history in the making, through the eyes of one of the footsoldiers in the civil rights movement.

    And as a black woman in America, she maintains, sometimes you need to have a sense of humor to deal with the absurdity you are handed on the daily. Robinson has experienced her fair share over the years: she's been unceremoniously relegated to the role of "the black friend," as if she is somehow the authority on all things racial; she's been questioned about her love of U2 and Billy Joel ("isn t that . . . white people music?"); she's been called "uppity" for having an opinion in the workplace; she's been followed around stores by security guards; and yes, people do ask her whether they can touch her hair all. the. time. Now, she's ready to take these topics to the page and she s going to make you laugh as she s doing it. Using her trademark wit alongside pop-culture references galore, Robinson explores everything from why Lisa Bonet is "Queen. Bae. Jesus," to breaking down the terrible nature of casting calls, to giving her less-than-traditional advice to the future female president, and demanding that the NFL clean up its act, all told in the same conversational voice that launched her podcast, "2 Dope Queens," to the top spot on iTunes. As personal as it is political, "You Can't Touch My Hair" examines our cultural climate and skewers our biases with humor and heart, announcing Robinson as a writer on the rise."