Change is constant. The world is in a continual state of flux. It is a stream of ever-mutating, emergent patterns. Rather than steel ourselves against such change, this book invites us to feel, map, assess, and learn from the swirling patterns around us in order to better understand and influence them as they happen. This is a resolutely materialist “spirituality” based equally on science and science fiction, a visionary incantation to transform that which ultimately transforms us.adrienne maree brown, co-editor of Octavia’s Brood: Science Fiction from Social Justice Movements, is a social justice facilitator, healer, and doula living in Detroit.

    Not sure how or if I've helped many folks say yes to life, but I've definitely aided in a few folks dying slowly in America, all without the aid of a gun'Kiese Laymon grew up in Jackson, Mississippi. That was where he started to write and where he began to seek to create an honest account of living in the US, a country striving to declare itself multi-cultural, post-racial and mostly innocent. This is that account.Drawing on his own personal experiences, these essays are Laymon's attempt to deal with many issues occupying America today, from race, identity and writing to music, celebrity and violence. Through letters between his own disparate family members, pleas to performers whose voices will never be heard again, recollections of his own failure to become a world-famous emcee, analysis of the growing culture of fear in the media and detailed accounts of his clashes with an education system that has both advanced and failed the generation he grew up in, Laymon gets closer not only to the truth behind himself, but to the promises behind the promised land.Searing and passionate, this timely collection of essays introduces a vibrant new voice in US literature and offers a unique insight into the forces that are tearing America apart today.

    Binding these essays together is Hong's theory of "minor feelings." As the daughter of Korean immigrants, Cathy Park Hong grew up steeped in shame, suspicion, and melancholy. She would later understand that these "minor feelings" occur when American optimism contradicts your own reality—when you believe the lies you're told about your own racial identity.Hong uses her own story as a portal into a deeper examination of racial consciousness in America today. This book traces her relationship to the English language, to shame and depression, to poetry and artmaking, and to family and female friendship in a search to both uncover and speak the truth.

    Steele’s conclusions shed new light on a host of American social phenomena, from the racial and gender gaps in standardized test scores to the belief in the superior athletic prowess of black men. Steele explicates the dilemmas that arise in every American’s life around issues of identity, from the white student whose grades drop steadily in his African American Studies class to the female engineering students deciding whether or not to attend predominantly male professional conferences. Whistling Vivaldi offers insight into how we form our senses of identity and ultimately lays out a plan for mitigating the negative effects of “stereotype threat” and reshaping American identities.

    Now a writer and performer on Late Night with Seth Meyers and host of The Amber Ruffin Show, Amber Ruffin lives in New York, where she is no one's First Black Friend and everyone is, as she puts it, "stark raving normal." But Amber's sister Lacey? She's still living in their home state of Nebraska, and trust us, you'll never believe what happened to Lacey.From racist donut shops to strangers putting their whole hand in her hair, from being mistaken for a prostitute to being mistaken for Harriet Tubman, Lacey is a lightning rod for hilariously ridiculous yet all-too-real anecdotes. She's the perfect mix of polite, beautiful, petite, and Black that apparently makes people think "I can say whatever I want to this woman." And now, Amber and Lacey share these entertainingly horrifying stories through their laugh-out-loud sisterly banter. Painfully relatable or shockingly eye-opening (depending on how often you have personally been followed by security at department stores), this book tackles modern-day racism with the perfect balance of levity and gravity.

    In late August 1619, a ship arrived in the British colony of Virginia bearing a cargo of twenty to thirty enslaved people from Africa. Their arrival led to the barbaric and unprecedented system of American chattel slavery that would last for the next 250 years. This is sometimes referred to as the country’s original sin, but it is more than that: It is the source of so much that still defines the United States. The 1619 Project: A New Origin Story builds on The New York Times Magazine’s award-winning “1619 Project,” which reframed our understanding of American history by placing slavery and its continuing legacy at the center of our national narrative. This book substantially expands on the original "1619 Project, "weaving together eighteen essays that explore the legacy of slavery in present-day America with thirty-six poems and works of fiction that illuminate key moments of oppression, struggle, and resistance. The essays show how the inheritance of 1619 reaches into every part of contemporary American society, from politics, music, diet, traffic, and citizenship to capitalism, religion, and our democracy itself. This legacy can be seen in the way we tell stories, the way we teach our children, and the way we remember. Together, the elements of the book reveal a new origin story for the United States, one that helps explain not only the persistence of anti-Black racism and inequality in American life today, but also the roots of what makes the country unique. The book also features an elaboration of the original project’s Pulitzer Prize–winning lead essay by Nikole Hannah-Jones on how the struggles of Black Americans have expanded democracy for all Americans, as well as two original pieces from Hannah-Jones, one of which makes a case for reparative solutions to this legacy of injustice.

    How did the “land of the free” become the home of the world’s largest prison system? Challenging the belief that America’s prison problem originated with the Reagan administration’s War on Drugs, Elizabeth Hinton traces the rise of mass incarceration to an ironic source: the social welfare programs of Lyndon Johnson’s Great Society at the height of the civil rights era.Johnson’s War on Poverty policies sought to foster equality and economic opportunity. But these initiatives were also rooted in widely shared assumptions about African Americans’ role in urban disorder, which prompted Johnson to call for a simultaneous War on Crime. The 1965 Law Enforcement Assistance Act empowered the national government to take a direct role in militarizing local police. Federal anticrime funding soon incentivized social service providers to ally with police departments, courts, and prisons. Under Richard Nixon and his successors, welfare programs fell by the wayside while investment in policing and punishment expanded. Anticipating future crime, policymakers urged states to build new prisons and introduced law enforcement measures into urban schools and public housing, turning neighborhoods into targets of police surveillance.By the 1980s, crime control and incarceration dominated national responses to poverty and inequality. The initiatives of that decade were less a sharp departure than the full realization of the punitive transformation of urban policy implemented by Republicans and Democrats alike since the 1960s.

    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.

    But in practice, it is prosecutors who have the upper hand, in a contest that is far from equal. More than anyone else, prosecutors decide who goes free and who goes to prison, and even who lives and who dies. The system wasn't designed for this kind of unchecked power, and in Charged, Emily Bazelon shows that it is an underreported cause of enormous injustice—and the missing piece in the mass incarceration puzzle.But that's only half the story. Prosecution in America is at a crossroads. The power of prosecutors makes them the actors in the system—the only actors—who can fix what's broken without changing a single law. They can end mass incarceration, protect against coercive plea bargains and convicting the innocent, and tackle racial bias. And because in almost every state we, the people, elect prosecutors, it is within our power to reshape the choices they make. In the last few years, for the first time in American history, a wave of reform-minded prosecutors has taken office in major cities throughout the country. Bazelon follows them, showing the difference they make for people caught in the system and how they are coming together as a new kind of lobby for justice and mercy.In Charged, Emily Bazelon mounts a major critique of the American criminal justice system—and also offers a way out.

    Bridging the fields of environmental history, cultural studies, critical race studies, and geography, Finney argues that the legacies of slavery, Jim Crow, and racial violence have shaped cultural understandings of the great outdoors and determined who should and can have access to natural spaces. Drawing on a variety of sources from film, literature, and popular culture, and analyzing different historical moments, including the establishment of the Wilderness Act in 1964 and the aftermath of Hurricane Katrina, Finney reveals the perceived and real ways in which nature and the environment are racialized in America. Looking toward the future, she also highlights the work of African Americans who are opening doors to greater participation in environmental and conservation concerns.

    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.

    Only two years old when her parents fled Iran, she didn’t learn of her undocumented status until her older sister wanted to apply for an after-school job, but couldn’t because she didn’t have a Social Security number.Fear of deportation kept Sara up at night, but it didn’t keep her from being a teenager. She desperately wanted a green card, along with clear skin, her own car, and a boyfriend.Americanized follows Sara’s progress toward getting her green card, but that’s only a portion of her experiences as an Iranian-“American” teenager. From discovering that her parents secretly divorced to facilitate her mother’s green card application to learning how to tame her unibrow, Sara pivots from the terrifying prospect that she might be kicked out of the country at any time to the almost-as-terrifying possibility that she might be the only one of her friends without a date to the prom.

    Civil Rights Movement who left Washington, D.C. by bus in 1961, headed for New Orleans. This purposeful mix of black and white, male and female activists--including future Congressman John Lewis, Congress of Racial Equality Director James Farmer, Reverend Benjamin Elton Cox, journalist and pacifist James Peck, and CORE field secretary Genevieve Hughes--set out to discover whether America would abide by a Supreme Court decision that ruled segregation unconstitutional in bus depots, waiting areas, restaurants, and restrooms nationwide.The Freedom Riders found their answer. No. Southern states would continue to disregard federal law and use violence to enforce racial segregation. One bus was burned to a shell; the second, which Charles rode, was set upon by a mob that beat the Riders nearly to death.Buses Are a Comin' provides a front-row view of the struggle to belong in America, as Charles leads his colleagues off the bus, into the station, into the mob, and into history to help defeat segregation's violent grip on African American lives. It is also a challenge from a teenager of a previous era to the young people of today: become agents of transformation. Stand firm. Create a more just and moral country where students have a voice, youth can make a difference, and everyone belongs.

    The case exemplifies how the death penalty in America is a direct descendant of lynching — a system that treats the rich and guilty better than the poor and innocent.

    Eager to finally join the motherhood ranks, Nefertiti was shocked when people started asking her why she wanted to adopt a "crack baby" or said that she would never be able to raise a Black son on her own. She realized that American society saw motherhood through a white lens, and that there would be no easy understanding or acceptance of the kind of family she hoped to build.Motherhood So White is the story of Nefertiti's fight to create the family she always knew she was meant to have and the story of motherhood that all American families need now. In this unflinching account of her parenting journey, Nefertiti examines the history of adoption in the African American community, faces off against stereotypes of single, Black motherhood, and confronts the reality of raising children of color in racially charged, modern-day America.Honest, vulnerable, and uplifting, Motherhood So White reveals what Nefertiti knew all along―that the only requirement for a successful family is one raised with love.