Named a notable book of the year by the New York Times Book Review and the Washington Post, and one of the best books of the year by Spectator and Publishers Weekly, The Souls of Yellow Folk is the powerful debut from one of the most acclaimed essayists of his generation. Wesley Yang writes about race and sex without the polite lies that bore us all.
Grace Will Lead Us Home: The Charleston Church Massacre and the Hard, Inspiring Journey to Forgiveness
A NEW YORK TIMES NOTABLE BOOK OF 2019 * BARNES & NOBLE DISCOVER GREAT NEW WRITERS PICK * OPRAH MAGAZINE SUMMER 2019 READING LIST SELECTION * NEW YORK TIMES EDITOR'S CHOICE
"A soul-shaking chronicle of the 2015 Charleston massacre and its aftermath... [Hawes is] a writer with the exceedingly rare ability to observe sympathetically both particular events and the horizon against which they take place without sentimentalizing her subjects. Hawes is so admirably steadfast in her commitment to bearing witness that one is compelled to consider the story she tells from every possible angle."
--New York Times Book Review
A deeply moving work of narrative nonfiction on the tragic shootings at the Mother Emanuel AME church in Charleston, South Carolina from Pulitzer Prize-winning journalist Jennifer Berry Hawes.
On June 17, 2015, twelve members of the historically black Emanuel AME Church in Charleston, South Carolina welcomed a young white man to their evening Bible study. He arrived with a pistol, 88 bullets, and hopes of starting a race war. Dylann Roof's massacre of nine innocents during their closing prayer horrified the nation. Two days later, some relatives of the dead stood at Roof's hearing and said, "I forgive you." That grace offered the country a hopeful ending to an awful story. But for the survivors and victims' families, the journey had just begun.
In Grace Will Lead Us Home, Pulitzer Prize-winning journalist Jennifer Berry Hawes provides a definitive account of the tragedy's aftermath. With unprecedented access to the grieving families and other key figures, Hawes offers a nuanced and moving portrait of the events and emotions that emerged in the massacre's wake.
The two adult survivors of the shooting begin to make sense of their lives again. Rifts form between some of the victims' families and the church. A group of relatives fights to end gun violence, capturing the attention of President Obama. And a city in the Deep South must confront its racist past. This is the story of how, beyond the headlines, a community of people begins to heal.
An unforgettable and deeply human portrait of grief, faith, and forgiveness, Grace Will Lead Us Home is destined to be a classic in the finest tradition of journalism.
Douglass came to faith as a teenager among African American Methodists in Baltimore. For the rest of his life, he adhered to a distinctly prophetic Christianity. Imitating the ancient Hebrew prophets and Jesus Christ, Douglass boldly condemned evil and oppression, especially when committed by the powerful. Dilbeck shows how Douglass's prophetic Christianity provided purpose and unity to his wide-ranging work as an author, editor, orator, and reformer. As "America's Prophet," Douglass exposed his nation's moral failures and hypocrisies in the hopes of creating a more just society. He admonished his fellow Americans to truly abide by the political and religious ideals they professed to hold most dear. Two hundred years after his birth, Douglass's prophetic voice remains as timely as ever.
Trans Exploits: Trans of Color Cultures and Technologies in Movement (ANIMA: Critical Race Studies Otherwise)
In Diversity, Inc., award-winning journalist Pamela Newkirk shines a bright light on the diversity industry, asking the tough questions about what has been effective--and why progress has been so slow. Newkirk highlights the rare success stories, sharing valuable lessons about how other industries can match those gains. But as she argues, despite decades of handwringing, costly initiatives, and uncomfortable conversations, organizations have, apart from a few exceptions, fallen far short of their goals.
Diversity, Inc. incisively shows the vast gap between the rhetoric of inclusivity and real achievements. If we are to deliver on the promise of true equality, we need to abandon ineffective, costly measures and commit ourselves to combatting enduring racial attitudes
When Darnell Moore was fourteen, three boys from his neighborhood tried to set him on fire. They cornered him while he was walking home from school, harassed him because they thought he was gay, and poured a jug of gasoline on him. He escaped, but just barely. It wasn't the last time he would face death.
Three decades later, Moore is an award-winning writer, a leading Black Lives Matter activist, and an advocate for justice and liberation. In No Ashes in the Fire, he shares the journey taken by that scared, bullied teenager who not only survived, but found his calling. Moore's transcendence over the myriad forces of repression that faced him is a testament to the grace and care of the people who loved him, and to his hometown, Camden, NJ, scarred and ignored but brimming with life. Moore reminds us that liberation is possible if we commit ourselves to fighting for it, and if we dream and create futures where those who survive on society's edges can thrive.
No Ashes in the Fire is a story of beauty and hope-and an honest reckoning with family, with place, and with what it means to be free.
Lambda Literary Award - Gay Memoir/Biography (Winner - 2019)A New York Times Notable Book of the Year (2018)
William Monroe Trotter (1872- 1934), though still virtually unknown to the wider public, was an unlikely American hero. With the stylistic verve of a newspaperman and the unwavering fearlessness of an emancipator, he galvanized black working- class citizens to wield their political power despite the violent racism of post- Reconstruction America. For more than thirty years, the Harvard-educated Trotter edited and published the Guardian, a weekly Boston newspaper that was read across the nation. Defining himself against the gradualist politics of Booker T. Washington and the elitism of W. E. B. Du Bois, Trotter advocated for a radical vision of black liberation that prefigured leaders such as Marcus Garvey, Malcolm X, and Martin Luther King Jr. Synthesizing years of archival research, historian Kerri Greenidge renders the drama of turn- of- the- century America and reclaims Trotter as a seminal figure, whose prophetic, yet ultimately tragic, life offers a link between the vision of Frederick Douglass and black radicalism in the modern era.
Colonial violence is a sticky phenomenon, gumming up the associational matrices of our daily lives and dreamscapes. Edgar Garcia intervenes with a poetic experiment: Every night of the three months of Columbus's first voyage to the Americas, Garcia read his corresponding journal entry before sleep. Asleep, his mind sutures displacements, migrations, and restorations into an assemblage of hemispheric becoming.
Edgar Garcia is part of an exciting new cohort of Greater American poets (those who cast a revealing light on the hemisphere from Alaska to the tip of Patagonia) who are working towards decoding & re-coding multi-metrical conceptions of historical space-time with the intent of reinvigorating political agencies. Skins of Columbus is a virtuosic exfoliation of nested chronicles that give voice to the heterogeneous temporalities that make for "the people." This is a maximalist poetics. Garcia spares no formalistic strategy to explore the chasm between said people and their "story." If the Greater American, Greater African, Greater European, Greater Oceanic and Greater Asian poetics stay on track and avoid the pitfalls of overt (or covert) ethno-nationalism, while critically flushing out their respective mythical terrains, we might just arrive at a genuinely new understanding of The Globe's Inherent Potential. And what could be more pressing right now than that? --Rodrigo Toscano
Edgar Garcia comes through with a counter-chronicle of conquest. He shows us how skins are like masks the poet and storyteller puts on and takes off, most especially when engaged with epic histories and the myths therein, changing places, changing times, and of course, changing us. --Michael Taussig
Good morn or evening, friends. You should feel good right now because Edgar Garcia plays the Skins of Columbus inside out, inducing the kind of "speech-like movements of leg and hip" that can get you swallowed and put away, which ought to make you not feel so good. This book is ravishing and ravaging, and/or wants to be, which is troubling, though that is as it should be. Can we dream ourselves inside out of what consumes and abandons us? This question, which bears the world's disaster, is our nightmare, though we are starving, even abandon having been tainted. Projection, ingestion, rejection and introjection merge in the mirror of constantly midnight, brutally Christian profligacies of diary, conquest, denial and refreshment. Meanwhile, over and over, we sing "Don't Explain." We sing it to ourselves, about ourselves. They shit us and they shit on us and we shit ourselves. In this intestine battlefield and looking glass, Garcia sings all that, poetry and criticism haven gotten back together after many broken promises, in the breaking of many more, as the desire for subversion and embrace to get back together, too. Evidently, that reconciliation exceeds human possibility. Criticism affirms this negative condition, as Garcia sings, singing so he can see if--violently, gorgeously, way more than humanly--we can sing our way out of inside out. He's bone deep, and miles ahead, and just getting started. --Fred Moten
Edgar Garcia is a scholar of hemispheric literatures and cultures of the Americas, principally of the 20th century. His work has explored the fields of indigenous and Latino studies, American literature, poetry and poetics, and environmental criticism. Garcia co-edited American Literature in the World (Columbia University Press, 2016), which examines the transnational contexts of a national literary tradition. He is also the author of Signs of the Americas: A Poetics of Pictography, Hieroglyphs, and Khipu (University of Chicago Press, 2019). He is the recipient of a BA in English with honors from the University of California, Berkeley, as well as MA, MPhil, and PhD degrees in English from Yale University. He is Neubauer Family Assistant Professor in the Department of English at the University of Chicago.
Selected by Emma Watson as the Our Shared Shelf Book Club Pick for March/April 2018
A New York Times Editor's Choice
A Barnes & Noble Discover Great New Writers Selection "A sledgehammer. . . . Her experiments with structure and language . . . are in the service of trying to find new ways to think about the past, trauma, repetition and reconciliation, which might be a way of saying a new model for the memoir." --Parul Sehgal, The New York Times "Heart Berries by Terese Mailhot is an astounding memoir in essays. Here is a wound. Here is need, naked and unapologetic. Here is a mountain woman, towering in words great and small . . . What Mailhot has accomplished in this exquisite book is brilliance both raw and refined." --Roxane Gay, author of Hunger Heart Berries is a powerful, poetic memoir of a woman's coming of age on the Seabird Island Band in the Pacific Northwest. Having survived a profoundly dysfunctional upbringing only to find herself hospitalized and facing a dual diagnosis of post traumatic stress disorder and bipolar II disorder; Terese Marie Mailhot is given a notebook and begins to write her way out of trauma. The triumphant result is Heart Berries, a memorial for Mailhot's mother, a social worker and activist who had a thing for prisoners; a story of reconciliation with her father--an abusive drunk and a brilliant artist--who was murdered under mysterious circumstances; and an elegy on how difficult it is to love someone while dragging the long shadows of shame. Mailhot trusts the reader to understand that memory isn't exact, but melded to imagination, pain, and what we can bring ourselves to accept. Her unique and at times unsettling voice graphically illustrates her mental state. As she writes, she discovers her own true voice, seizes control of her story, and, in so doing, reestablishes her connection to her family, to her people, and to her place in the world. "I am quietly reveling in the profundity of Mailhot's deliberate transgression in Heart Berries and its perfect results. I love her suspicion of words. I have always been terrified and in awe of the power of words--but Mailhot does not let them silence her in Heart Berries. She finds the purest way to say what she needs to say . . . [T]he writing is so good it's hard not to temporarily be distracted from the content or narrative by its brilliance . . . Perhaps, because this author so generously allows us to be her witness, we are somehow able to see ourselves more clearly and become better witnesses to ourselves." --Emma Watson, Official March/April selection for Our Shared Shelf Named One of the Most Anticipated Books of 2018 by:
The New York Public Library
Award-winning poet Brandon Shimoda has crafted a lyrical portrait of his paternal grandfather, Midori Shimoda, whose life--child migrant, talented photographer, suspected enemy alien and spy, desert wanderer, American citizen--mirrors the arc of Japanese America in the twentieth century. In a series of pilgrimages, Shimoda records the search to find his grandfather, and unfolds, in the process, a moving elegy on memory and forgetting.
Praise for The Grave on the Wall
"Shimoda brings his poetic lyricism to this moving and elegant memoir, the structure of which reflects the fragmentation of memories. ... It is at once wistful and devastating to see Midori's life come full circle ... In between is a life with tragedy, love, and the horrors unleashed by the atomic bomb."--Booklist, starred review
"In a weaving meditation, Brandon Shimoda pens an elegant eulogy for his grandfather Midori, yet also for the living, we who survive on the margins of graveyards and rituals of our own making."--Karen Tei Yamashita, author of Letters to Memory
"Sometimes a work of art functions as a dream. At other times, a work of art functions as a conscience. In the tradition of Juan Rulfo's Pedro Páramo, Brandon Shimoda's The Grave on the Wall is both. It is also the type of fragmented reckoning only America could instigate."--Myriam Gurba, author of Mean
"Within this haunted sepulcher built out of silence, loss, and grief--its walls shadowed by the traumas of racial oppression and violence--a green river lined with peach trees flows beneath a bridge that leads back to the grandson."--Jeffrey Yang, author of Hey, Marfa: Poems
"It is part dream, part memory, part forgetting, part identity. It is a remarkable exploration of how citizenship is forged by the brutal US imperial forces--through slave labor, forced detention, indiscriminate bombing, historical amnesia and wall. If someone asked me, Where are you from? I would answer, From The Grave on the Wall."--Don Mee Choi, author of Hardly War
"Shimoda intercedes into the absences, gaps and interstices of the present and delves the presence of mystery. This mystery is part of each of us. Shimoda outlines that mystery in silence and silhouette, in objects left behind at site-specific travels to Japan and in the disparate facts of his grandpa's FBI file. Gratitude to Brandon Shimoda for taking on the mystery which only literature accepts as the basic challenge."--Sesshu Foster, author of City of the Future
"Shimoda is a mystic writer ... He puts what breaches itself (always) onto the page, so that the act of writing becomes akin to paper-making: an attention to fibers, coagulation, texture and the water-fire mixtures that signal irreversible alteration or change. ... he has written a book that touches the bottom of my own soul."--Bhanu Kapil, author of Ban en Banlieue
Distrusting the accounts of early nationalists as propaganda, and drawing on the recent work of archaeologists, the expertise of local historical societies, and his own considerable knowledge of the New England countryside, Bourne brings this turbulent era to life. We are led along the old Indian trails that once criss-crossed New England, we visit the settlements of colonists and Native Americans alike, and we meet a fascinating cast of characters. These include the intrepid settler Benjamin Church (who first sought to dissuade colonial leaders from slaughter, then taught them how to fight woodland battles), the radical preacher and trader Roger Williams (who had learned the native language and tried for decades to keep the cultures together), and Metacomet himself--soon to be known as King Philip--whom we glimpse striding proudly through pre-war Boston wearing "buckskins set thick with these beads [of wampum] in pleasant wild works and a broad belt of the same." Bourne weaves together character sketches, community descriptions, and, whenever possible, the words of both combatants and witnesses to fashion a gripping narrative account of a period that--in both its successes and failures--helped shape the nature of early America.
The Red King's Rebellion helps us to understand not only the causes and effects of the war, but the importance and values of the men and women who tried to prevent it. And in an age when cultures continue to clash and quick, brutal actions still seem to offer easy solutions, it is a tale that demands renewed attention.
Growing interest in reparations for African Americans has prompted a range of responses, from lawsuits against major corporations and a march in Washington to an anti-reparations ad campaign. As a result, the link between slavery and contemporary race relations is more potent and obvious than ever. Grassroots organizers, lawmakers, and distinguished academics have embraced the idea that reparations should be pursued vigorously in the courts and legislature. But others ask, Who should pay? And could reparations help heal the wounds of the past?
This comprehensive collection -- the only of its kind -- gathers together the seminal essays and key participants in the debate. Pro-reparations essays, including contributions by Congressman John Conyers Jr., Christopher Hitchens, and Professor Molefi Asante, are countered with arguments by Shelby Steele, Armstrong Williams, and John McWhorter, among others. Also featured are important documents, such as the First Congressional Reparations Bill of 1867 and the Dakar Declaration of 2001, as well as a new chapter on the current status and future direction of the movement.
In this volume, Henry Louis Gates, Jr., a leading scholar in African-American studies, attacks the notion of African-American literature as a kind of social realism. Insisting, instead, that critics focus on the most repressed element of African-American criticism--the language of the text--Gates advocates the use of a close, methodical analysis of language, made possible by modern literary theory. Throughout his study, Gates incorporates the theoretical insights of critics such as Bakhtin, Foucault, Lacan, Derrida, and Bloom, as he examines the modes of representation that define black art and analyzes the unspoken assumptions made in judging this literature since its inception.
Ranging from the eighteenth-century poet, Phillis Wheatley, to modern writers, Ishmael Reed and Alice Walker, Gates seeks to redefine literary criticism itself, moving away from a Eurocentric notion of a hierarchical canon--mostly white, Western, and male--to foster a truly comparative and pluralistic notion of literature.
" "[Two Old Women]" speaks straight to the heart with clarity, sweetness, and wisdom".--Ursula K. Le GuinA
Offers personal insights from a Native American who worked with the American Indian Movement from its inception
The American Reader is a stirring and memorable anthology that captures the many facets of American culture and history in prose and verse. The 200 poems, speeches, songs, essays, letters, and documents were chosen both for their readability and for their significance. These are the words that have inspired, enraged, delighted, chastened, and comforted Americans in days gone by. Gathered here are the writings that illuminate--with wit, eloquence, and sometimes sharp words--significant aspects of national conciousness. They reflect the part that all Americans--black and white, native born and immigrant, Hispanic, Asian, and Native American, poor and wealthy--have played in creating the nation's character.
The Three-Year Swim Club: The Untold Story of Maui's Sugar Ditch Kids and Their Quest for Olympic Glory
People of Mexican descent and Anglo Americans have lived together in the U.S. Southwest for over a hundred years, yet relations between them remain strained, as shown by recent controversies over social services for undocumented aliens in California. In this study, covering the Spanish colonial period to the present day, Martha Menchaca delves deeply into interethnic relations in Santa Paula, California, to document how the residential, social, and school segregation of Mexican-origin people became institutionalized in a representative California town.
Menchaca lived in Santa Paula during the 1980s, and interviews with residents add a vivid human dimension to her book. She argues that social segregation in Santa Paula has evolved into a system of social apartness--that is, a cultural system controlled by Anglo Americans that designates the proper times and places where Mexican-origin people can socially interact with Anglos.
This first historical ethnographic case study of a Mexican-origin community will be important reading across a spectrum of disciplines, including anthropology, sociology, race and ethnicity, Latino studies, and American culture.