At least that's what everyone says and how they are constantly depicted. But what, exactly, does this strength entail? And what price do Black women pay for it? In this book, the author, a psychologist and pastoral theologian, examines the burdensome yoke that the ideology of the Strong Black Woman places upon African American women. She demonstrates how the three core features of the ideology--emotional strength, caregiving, and independence--constrain the lives of African American women and predispose them to physical and emotional health problems, including obesity, diabetes, hypertension, and anxiety. She traces the historical, social, and theological influences that resulted in the evolution and maintenance of the Strong Black Woman, including the Christian church, R & B and hip-hop artists, and popular television and film. Drawing upon womanist pastoral theology and twelve-step philosophy, she calls upon pastoral caregivers to aid in the healing of African American women's identities and crafts a twelve-step program for Strong Black Women in recovery. "Too Heavy a Yoke is a much-needed, thoughtful, and nuanced examination of the 'Strong Black Woman' stereotype--a significant new contribution to multiple disciplines of pastoral care and counseling, psychology, sociology, African American and womanist-feminist studies, and constructive theology. Walker Barnes draws on both womanist and Trinitarian theologies to examine how the church can play a part in healing and liberating black women from 'the burden of strength.' Meticulously researched and beautifully written, this book belongs on the shelf of every minister and pastoral counselor, and indeed every woman who knows in her soul the burdens of being a 'StrongBlackWoman.'" --Pamela Cooper-White, Ben G. and Nancye Clapp Gautier Professor of Pastoral Theology, Care, and Counseling, Columbia Theological Seminary Well done! This book is a much-needed gift to the field of pastoral theology. It is a well nuanced and explicated research volume and a practical guide for caregivers, pastors, those who love women struggling with the ideology of the 'StrongBlackWoman,' as well as those in recovery." --Marsha Foster Boyd, President Emerita, Ecumenical Theological Seminary "A prayerful, prophetic, poetic, pastoral, powerful womanist analysis of the StrongBlackWoman, from an interdisciplinary, experiential perspective names the context, content, complexities, and pathology of many Black women's embodied archetypal, systemic oppression and posits hopeful options for a paradigmatic shift of recovery. Woven with artistry and passion, Too Heavy a Yoke is a must-read for clergy, therapists, caregivers, and any persons or groups committed to the liberation of black women, ultimately the liberation of all society." --Cheryl A. Kirk-Duggan, Professor of Religion, Shaw University Divinity School Chanequa Walker-Barnes is Assistant Professor of Pastoral Care and Counseling at McAfee School of Theology, Mercer University, Atlanta, Georgia. She is a licensed psychologist and a candidate for ordination in the United Methodist Church. Her articles have been published in a wide range of scholarly journals, including Journal of Pastoral Theology, Child Development, and American Journal of Community Psychology.

    Rankine's questions disrupt the false comfort of our culture's liminal and private spaces--the airport, the theater, the dinner party, the voting booth--where neutrality and politeness live on the surface of differing commitments, beliefs, and prejudices as our public and private lives intersect.This brilliant arrangement of essays, poems, and images includes the voices and rebuttals of others: white men in first class responding to, and with, their white male privilege; a friend's explanation of her infuriating behavior at a play; and women confronting the political currency of dying their hair blond, all running alongside fact-checked notes and commentary that complements Rankine's own text, complicating notions of authority and who gets the last word.Sometimes wry, often vulnerable, and always prescient, Just Us is Rankine's most intimate work, less interested in being right than in being true, being together.

    This is not any of those—the year isn’t half-way done. What I’ve tried to do is organize some of the feelings and thoughts that events, so far, have provoked in me, in those scraps of time the year itself has allowed. These are above all personal essays: small by definition, short by necessity.”Crafted with the sharp intelligence, wit and style that have won Zadie Smith millions of fans, and suffused with a profound intimacy and tenderness in response to these unprecedented times, Intimations is a vital work of art, a gesture of connection and an act of love—an essential book in extraordinary times.

    She can describe the smell, the atmosphere of the salon, and her mix of emotions when she saw her normally kinky tresses fall down her shoulders. For as long as Emma can remember, her hair has been a source of insecurity, shame, and—from strangers and family alike—discrimination. And she is not alone.Despite increasingly liberal world views, black hair continues to be erased, appropriated, and stigmatized to the point of taboo. Through her personal and historical journey, Dabiri gleans insights into the way racism is coded in society’s perception of black hair—and how it is often used as an avenue for discrimination. Dabiri takes us from pre-colonial Africa, through the Harlem Renaissance, and into today's Natural Hair Movement, exploring everything from women's solidarity and friendship, to the criminalization of dreadlocks, to the dubious provenance of Kim Kardashian's braids.Through the lens of hair texture, Dabiri leads us on a historical and cultural investigation of the global history of racism—and her own personal journey of self-love and finally, acceptance.

    This is a no-holds-barred response to the liberal and conservative retreat from an assertive, activist, and socially transformative civil rights agenda of recent years--using a black feminist lens and the issue of  the impact of recent legislation, social policy, and welfare "reform" on black women's--especially poor black women's--control over their bodies' autonomy and their freedom to bear and raise children with respect and dignity in a society whose white mainstream is determined to demonize, even criminalize their lives.   It gives its readers a cogent legal and historical argument for a radically new , and socially transformative, definition of  "liberty" and "equality" for the American polity from a black feminist perspective.The author is able to combine the most innovative and radical thinking on several fronts--racial theory, feminist, and legal--to produce a work that is at once history and political treatise.  By using the history of how American law--beginning with slavery--has treated the issue of the state's right  to interfere with the black woman's body, the author explosively and effectively makes the case for the legal redress to the racist implications of current policy with regards to 1) access to and coercive dispensing of birth control to poor black women 2) the criminalization of parenting by poor black women who have used drugs 3) the stigmatization and devaluation of poor black mothers under the new welfare provisions, and 4) the differential access to and disproportionate spending of social resources on the new reproductive technologies used by wealthy white couples to insure genetically related offspring.The legal redress of the racism inherent in current  American law and policy in these matters, the author argues in her last chapter, demands and should lead us to adopt a new standard and definition of the liberal theory of "liberty" and "equality" based on the need for, and the positive role of government in fostering, social as well as individual justice.

    When We Were Outlaws offers a rare view of the life of a radical lesbian during the early cultural struggle for gay rights, Women’s Liberation, and the New Left of the 1970s. Brash and ambitious, activist Jeanne Córdova is living with one woman and falling in love with another, but her passionate beliefs tell her that her first duty is "to the revolution”---to change the world and end discrimination against gays and lesbians. Trying to compartmentalize her sexual life, she becomes an investigative reporter for the famous, underground L.A. Free Press and finds herself involved with covering the Weather Underground and Angela Davis, exposing neo-Nazi bomber Captain Joe Tomassi, and befriending Emily Harris of the Symbionese Liberation Army. At the same time she is creating what will be the center of her revolutionary lesbian world: her own newsmagazine, The Lesbian Tide, destined to become the voice of the national lesbian feminist movement.By turns provocative and daringly honest, Cordova renders emblematic scenes of the era---ranging from strike protests to utopian music festivals, to underground meetings with radical fugitives---with period detail and evocative characters. For those who came of age in the 70s, and for those who weren’t around but still ask, "What was it like?", Outlaws takes you back to re-live it. It also offers insights about ethics, decision making and strategy, still relevant today.With an introduction by renowned lesbian historian Lillian Faderman, When We Were Outlaws paints a vivid portrait of activism and the search for self-identity, set against the turbulent landscape of multiple struggles for social change that swept hundreds of thousands of Americans into the streets.

    Here, an indigenous researcher issues a clarion call for the decolonization of research methods.The book is divided into two parts. In the first, the author critically examines the historical and philosophical base of Western research. Extending the work of Foucault, she explores the intersections of imperialism, knowledge and research, and the different ways in which imperialism is embedded in disciplines of knowledge and methodologies as 'regimes of truth'. Providing a history of knowledge from the Enlightenment to Postcoloniality, she also discusses the fate of concepts such as 'discovery, 'claiming' and 'naming' through which the west has incorporated and continues to incorporate the indigenous world within its own web.The second part of the book meets the urgent need for people who are carrying out their own research projects, for literature which validates their frustrations in dealing with various western paradigms, academic traditions and methodologies, which continue to position the indigenous as 'Other'. In setting an agenda for planning and implementing indigenous research, the author shows how such programmes are part of the wider project of reclaiming control over indigenous ways of knowing and being.Exploring the broad range of issues which have confronted, and continue to confront, indigenous peoples, in their encounters with western knowledge, this book also sets a standard for truly emancipatory research. It brilliantly demonstrates that "when indigenous peoples become the researchers and not merely the researched, the activity of research is transformed."

    With gorgeous, hand-painted illustrations, Menéndez shines a spotlight on the power of childhood dreams.From Supreme Court Justice Sonia Sotomayor to singer Selena Quintanilla to NASA's first virtual reality engineer, Evelyn Miralles, this is a book for aspiring artists, scientists, activists, and more. These women followed their dreams--and just might encourage you to follow yours!The book features Sor Juana Inés de la Cruz, Juana Azurduy de Padilla, Policarpa Salavarrieta, Rosa Peña de González, Teresa Carreño, Zelia Nuttall, Antonia Navarro, Matilde Hidalgo, Gabriela Mistral, Juana de Ibarbourou, Pura Belpré, Gumercinda Páez, Frida Kahlo, Julia de Burgos, Chavela Vargas, Alicia Alonso, Victoria Santa Cruz, Claribel Alegría, Celia Cruz, Dolores Huerta, Rita Moreno, Maria Auxiliadora da Silva, Mercedes Sosa, Isabel Allende, Susana Torre, Julia Alvarez, Sandra Cisneros, Sonia Sotomayor, Rigoberta Menchú Tum, Mercedes Doretti, Sonia Pierre, Justa Canaviri, Evelyn Miralles, Selena Quintanilla, Berta Cáceres, Serena Auñón, Wanda Díaz-Merced, Marta Vieira da Silva, Alexandria Ocasio-Cortez, and Laurie Hernandez.Godwin Books

    The essays are addressed to everyone interested in the roots of the colonized woman's reality. Castillo introduces the term Xicanisma in a passionate call for a politically active, socially committed Chicana feminism. In "A Countryless Woman, " Castillo outlines the experience of the brown woman in a racist society that recognizes race relations mostly as a black and white dilemma. Essays on the Watsonville strike, the early Chicano movement, and the roots of machismo illustrate the extent to which women still struggle against male dominance. Other essays suggest strategies for opposing the suppression of women's spirituality and sexuality by institutionalized religion and the state. These challenging essays will be a provocative guide for those who envision a new future for women as we face a new century.

    She crafts powerful ways to address the challenges Brown girls face, from imposter syndrome to colorism. She empowers women to decolonize their worldview, and defy “universal” white narratives, by telling their own stories. Her book guides women of color toward a sense of pride and sisterhood and offers essential tools to energize a movement.May it spark a fire within you.

    Williams has committed an act of love.--Alice Walker A classic.--Jack KornfieldThere truly is an art to being here in this world, and like any art, it can be mastered.In this elegant, practical book, Angel Kyodo Williams combines the universal wisdom of Buddhism with an inspirational call for self-acceptance and community empowerment. Written by a woman who grew up facing the challenges that confront African-Americans every day, Being Black teaches us how a warrior spirit of truth and responsibility can be developed into the foundation for real happiness and personal transformation. With her eloquent, hip, and honest perspective, Williams--a Zen priest, social activist, and entrepreneur--shares personal stories, time-tested teachings, and simple guidelines that invite readers of all faiths to step into the freedom of a life lived with fearlessness and grace.

    This new edition—including a new introduction and three new essays—remains a testament of Moraga's coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.Moraga's new essays, written with a voice nearly a generation older, continue the project of "loving in the war years," but Moraga's posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). Loving is an angry response to the "cultural tyranny" of the mainstream art world and a celebration of the strategic use of "cultural memory" in the creation of an art of resistance.Cherríe Moraga is the co-editor of the classic feminist anthology This Bridge Called My Back and the author of The Last Generation. She is Artist-in-Residence at Stanford University.

    From its start in 1921 as an Atlantic City tourist draw to its current incarnation as a scholarship competition, the pageant has indexed women’s status during periods of social change―the post-suffrage 1920s, the Eisenhower 1950s, the #MeToo era. This ever-changing institution has been shaped by war, evangelism, the rise of television and reality TV, and, significantly, by contestants who confounded expectations.Spotlighting individuals, from Yolande Betbeze, whose refusal to pose in swimsuits led an angry sponsor to launch the rival Miss USA contest, to the first black winner, Vanessa Williams, who received death threats and was protected by sharpshooters in her hometown parade, Margot Mifflin shows how women made hard bargains even as they used the pageant for economic advancement. The pageant’s history includes, crucially, those it excluded; the notorious Rule Seven, which required contestants to be “of the white race,” was retired in the 1950s, but no women of color were crowned until the 1980s.In rigorously researched, vibrant chapters that unpack each decade of the pageant, Looking for Miss America examines the heady blend of capitalism, patriotism, class anxiety, and cultural mythology that has fueled this American ritual.

    These inspiring wordsmiths are scholars, spiritual seekers, conservationists, scientists, novelists, and explorers. They defy easy categorization, yet they all share a bold authenticity that makes their work both distinct and universal.    Featured writers include:Dorothy Wordsworth, Susan Fenimore Cooper, Gene Stratton-Porter, Mary Austin, and Vita Sackville-WestNan Shepherd, Rachel Carson, Mary Oliver, Carolyn Merchant, and Annie DillardGretel Ehrlich, Leslie Marmon Silko, Diane Ackerman, Robin Wall Kimmerer, and Lauret SavoyRebecca Solnit, Kathleen Jamie, Carolyn Finney, Helen Macdonald, and Saci LloydAndrea Wulf, Camille T. Dungy, Elena Passarello, Amy Liptrot, and Elizabeth RushPart travel essay, literary biography, and cultural history, Writing Wild ventures into the landscapes and lives of extraordinary writers and encourages a new generation of women to pick up their pens, head outdoors, and start writing wild.

    In this short period of time, his vision for abolishing racial inequality in the United States underwent a vast transformation. Breaking from the Black Muslims, he moved away from the black militarism prevalent in his earlier years only to be shot down by an assassin's bullet.