For Patrisse, the most vulnerable people in the country are Black people. Deliberately and ruthlessly targeted by a criminal justice system serving a white privilege agenda, Black people are subjected to unjustifiable racial profiling and police brutality. In 2013, when Trayvon Martin’s killer went free, Patrisse’s outrage led her to co-found Black Lives Matter with Alicia Garza and Opal Tometi.Condemned as terrorists and as a threat to America, these loving women founded a hashtag that birthed the movement to demand accountability from the authorities who continually turn a blind eye to the injustices inflicted upon people of Black and Brown skin. Championing human rights in the face of violent racism, Patrisse is a survivor. She transformed her personal pain into political power, giving voice to a people suffering in equality and a movement fueled by her strength and love to tell the country—and the world—that Black Lives Matter.When They Call You a Terrorist is Patrisse Khan-Cullors and asha bandele’s reflection on humanity. It is an empowering account of survival, strength and resilience and a call to action to change the culture that declares innocent Black life expendable.

    The system that had sustained the defeated South moved westward and there established a foothold. It was a natural fit. Settlers from the East had for decades been pushing into the West, where the seizure of Mexican lands at the end of the Mexican-American War and treatment of Native Americans cemented racial hierarchies. The South and West equally depended on extractive industries-cotton in the former and mining, cattle, and oil in the latter-giving rise a new birth of white male oligarchy, despite the guarantees provided by the 13th, 14th, and 15th Amendments, and the economic opportunities afforded by expansion.To reveal why this happened, How the South Won the Civil War traces the story of the American paradox, the competing claims of equality and subordination woven into the nation's fabric and identity. At the nation's founding, it was the Eastern "yeoman farmer" who galvanized and symbolized the American Revolution. After the Civil War, that mantle was assumed by the Western cowboy, singlehandedly defending his land against barbarians and savages as well as from a rapacious government. New states entered the Union in the late nineteenth century and western and southern leaders found yet more common ground. As resources and people streamed into the West during the New Deal and World War II, the region's influence grew. "Movement Conservatives," led by westerners Barry Goldwater, Richard Nixon, and Ronald Reagan, claimed to embody cowboy individualism and worked with Dixiecrats to embrace the ideology of the Confederacy.Richardson's searing book seizes upon the soul of the country and its ongoing struggle to provide equal opportunity to all. Debunking the myth that the Civil War released the nation from the grip of oligarchy, expunging the sins of the Founding, it reveals how and why the Old South not only survived in the West, but thrived.

    It also makes a compelling and provocative argument against calling the police.Contributions cover a broad range of issues including the killing by police of black men and women, police violence against Latino and indigenous communities, law enforcement's treatment of pregnant people and those with mental illness, and the impact of racist police violence on parenting, as well as specific stories such as a Detroit police conspiracy to slap murder convictions on young black men using police informant and the failure of Chicago's much-touted Independent Police Review Authority, the body supposedly responsible for investigating police misconduct. The title Who Do You Serve, Who Do You Protect? is no mere provocation: the book also explores alternatives for keeping communities safe.Contributors include William C. Anderson, Candice Bernd, Aaron Cantú, Thandi Chimurenga, Ejeris Dixon, Adam Hudson, Victoria Law, Mike Ludwig, Sarah Macaraeg, and Roberto Rodriguez.

    Many black residents were poor sharecroppers, but others owned their own farms and the land on which they’d founded the county’s thriving black churches.But then in September of 1912, three young black laborers were accused of raping and murdering a white girl. One man was dragged from a jail cell and lynched on the town square, two teenagers were hung after a one-day trial, and soon bands of white “night riders” launched a coordinated campaign of arson and terror, driving all 1,098 black citizens out of the county. In the wake of the expulsions, whites harvested the crops and took over the livestock of their former neighbors, and quietly laid claim to “abandoned” land. The charred ruins of homes and churches disappeared into the weeds, until the people and places of black Forsyth were forgotten.National Book Award finalist Patrick Phillips tells Forsyth’s tragic story in vivid detail and traces its long history of racial violence all the way back to antebellum Georgia. Recalling his own childhood in the 1970s and ’80s, Phillips sheds light on the communal crimes of his hometown and the violent means by which locals kept Forsyth “all white” well into the 1990s.Blood at the Root is a sweeping American tale that spans the Cherokee removals of the 1830s, the hope and promise of Reconstruction, and the crushing injustice of Forsyth’s racial cleansing. With bold storytelling and lyrical prose, Phillips breaks a century-long silence and uncovers a history of racial terrorism that continues to shape America in the twenty-first century.

    From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders.An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.

    While some deaths make headlines, most are personal tragedies suffered within families and communities. Worse, these killings are done one person at a time, so as not to raise alarm. While it is much more difficult to justify killing many people at once, in dramatic fashion, the result is the same—genocide.Taking on such high-profile cases as Trayvon Martin, Michael Brown, and a host of others, Crump witnessed the disparities within the American legal system firsthand and learned it is dangerous to be a black man in America—and that the justice system indeed only protects wealthy white men.In this enlightening and enthralling work, he shows that there is a persistent, prevailing, and destructive mindset regarding colored people that is rooted in our history as a slaveowning nation. This biased attitude has given rise to mass incarceration, voter disenfranchisement, unequal educational opportunities, disparate health care practices, job and housing discrimination, police brutality, and an unequal justice system. And all mask the silent and ongoing systematic killing of people of color.Open Season is more than Crump’s incredible mission to preserve justice, it is a call to action for Americans to begin living up to the promise to protect the rights of its citizens equally and without question.

    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.

    She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    Presenting the concept of the "New Jim Code," she shows how a range of discriminatory designs encode inequity by explicitly amplifying racial hierarchies; by ignoring but thereby replicating social divisions; or by aiming to fix racial bias but ultimately doing quite the opposite. Moreover, she makes a compelling case for race itself as a kind of technology, designed to stratify and sanctify social injustice in the architecture of everyday life.This illuminating guide provides conceptual tools for decoding tech promises with sociologically informed skepticism. In doing so, it challenges us to question not only the technologies we are sold but also the ones we ourselves manufacture.If you adopt this book for classroom use in the 2019-2020 academic year, the author would be pleased to arrange to Skype to a session of your class. If interested, enter your details in this sign-up sheet https: //buff.ly/2wJsvZr

    Martin Luther King Jr. during the decade preceding his emergence as a national figure. This 1000-page effort, which won the Pulitzer Prize as well as the National Book Critics Circle Award for General Nonfiction, profiles the key players & events that helped shape the American social landscape following WWII but before the civil-rights movement of the 60s reached its climax. Branch then goes a step further, endeavoring to explain how the struggles evolved as they did by probing the influences of the main actors while discussing the manner in which events conspired to create fertile ground for change. Also analyzing the beginnings of black self-consciousness, this book maps the structure of segregation & bigotry in America between '54 & '63. The author considers the constantly changing behavior of those in Washington with regard to the injustice of offical racism operating in many states at this time.Forerunner: Vernon Johns Rockefeller and Ebenezer Niebuhr and the Pool TablesFirst Trombone The Montgomery Bus BoycottA Taste of the World The Quickening Shades of PoliticsA Pawn of HistoryThe Kennedy TransitionBaptism on Wheels The Summer of Freedom RidesMoses in McComb, King in Kansas City Almost Christmas in Albany Hoover's Triangle and King's MachineThe Fireman's Last Reprieve The Fall of Ole MissTo Birmingham Greenwood and Birmingham JailThe Children's Miracle Firestorm The March on Washington Crossing Over: Nightmares and Dreams

      Born in upper-crust black Chicago—her father was for years head of pediatrics at Provident, at the time the nation’s oldest black hospital; her mother was a socialite—Margo Jefferson has spent most of her life among (call them what you will) the colored aristocracy, the colored elite, the blue-vein society. Since the nineteenth century they have stood apart, these inhabitants of Negroland, “a small region of Negro America where residents were sheltered by a certain amount of privilege and plenty.”   Reckoning with the strictures and demands of Negroland at crucial historical moments—the civil rights movement, the dawn of feminism, the fallacy of postracial America—Jefferson brilliantly charts the twists and turns of a life informed by psychological and moral contradictions. Aware as it is of heart-wrenching despair and depression, this book is a triumphant paean to the grace of perseverance.

    And I make my analogy through the slave citizen's music—through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America—not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.

    . . . Its effects remain the nation's most pressing business. Trouble in Mind is an absolutely essential account of its dreadful history and calamitous legacy."  --The Washington Post"The most complete and moving account we have had of what the victims of the Jim Crow South suffered and somehow endured."--C. Vann WoodwardIn April 1899, black laborer Sam Hose killed his white boss in self-defense. Wrongly accused of raping the man's wife, Hose was mutilated, stabbed, and burned alive in front of 2,000 cheering whites. His body was sold piecemeal to souvenir seekers; an Atlanta grocery displayed his knuckles in its front window for a week.With the same narrative skill he brought to the Pulitzer Prize-winning Been in the Storm So Long, Leon Litwack constructs a searing history of life under Jim Crow. Drawing on new documentation and first-person accounts by blacks and whites, he describes the injustices--both institutional and personal--inflicted against a people. Here, too, are the black men and women whose activism, literature, and music preserved the genius of their human spirit. Painstakingly researched, important, and timely, Trouble in Mind recalls the bloodiest and most repressive period in the history of race relations in the United States--and the painful record of discrimination that haunts us to this day."Moving, elegant, earthy and pointed. . . . It forces us to reckon with the tragic legacies of freedom as well as of slavery. And it reminds us of the resilience and creativity of the human spirit." --Steven Hahn, The San Diego Union-Tribune"A chilling reminder of how simple it has been for Americans to delude themselves about the power of race."         --The Raleigh News & Observer

    Written by anti-bias, anti-racist, educator and activist, Tiffany Jewell, and illustrated by French illustrator Aurélia Durand in kaleidoscopic vibrancy. This book is written for the young person who doesn't know how to speak up to the racist adults in their life. For the 14 year old who sees injustice at school and isn't able to understand the role racism plays in separating them from their friends. For the kid who spends years trying to fit into the dominant culture and loses themselves for a little while. It's for all of the Black and Brown children who have been harmed (physically and emotionally) because no one stood up for them or they couldn't stand up for themselves; because the colour of their skin, the texture of their hair, their names made white folx feel scared and threatened. It is written so children and young adults will feel empowered to stand up to the adults who continue to close doors in their faces. This book will give them the language and ability to understand racism and a drive to undo it. In short, it is for everyone.

    A passionate, personal, urgent book from the man who sparked a national debate."There is a difference between remembrance of history and reverence for it." When Mitch Landrieu addressed the people of New Orleans in May 2017 about his decision to take down four Confederate monuments, including the statue of Robert E. Lee, he struck a nerve nationally, and his speech has now been heard or seen by millions across the country. In his first book, Mayor Landrieu discusses his personal journey on race as well as the path he took to making the decision to remove the monuments, tackles the broader history of slavery, race and institutional inequities that still bedevil America, and traces his personal relationship to this history. His father, as state senator and mayor, was a huge force in the integration of New Orleans in the 1960s and 19070s. Landrieu grew up with a progressive education in one of the nation's most racially divided cities, but even he had to relearn Southern history as it really happened.Equal parts unblinking memoir, history, and prescription for finally confronting America's most painful legacy, In the Shadow of Statues will contribute strongly to the national conversation about race in the age of Donald Trump, at a time when racism is resurgent with seemingly tacit approval from the highest levels of government and when too many Americans have a misplaced nostalgia for a time and place that never existed.