The End of Chiraq: A Literary Mixtape is a collection of poems, rap lyrics, short stories, essays, interviews, and artwork about Chicago, the city that came to be known as "Chiraq" ("Chicago" + "Iraq"), and the people who live in its vibrant and occasionally violent neighborhoods. Tuned to the work of Chicago’s youth, especially the emerging artists and activists surrounding Young Chicago Authors, this literary mixtape unpacks the meanings of “Chiraq” as both a vexed term and a space of possibility.

"Chiraq" has come to connote the violence—interpersonal and structural—that many Chicago youth regularly experience. But the contributors to The End of Chiraq show that Chicago is much more than Chiraq. Instead, they demonstrate how young people are thinking and mobilizing, engaged in a process of creating a new and safer world for themselves, their communities, and their city.

In true mixtape fashion, the book is an exercise in "low end theory" that does not just include so-called underground and marginal voices, but foregrounds them. Edited by award-winning poets, writers, and teachers Javon Johnson and Kevin Coval, The End of Chiraq addresses head-on the troublesome relationship between Chicago and Chiraq and envisions a future in which both might be transformed.

The extraordinarily productive life of curator, artist, and activist Margaret Burroughs was largely rooted in her work to establish and sustain two significant institutions in Chicago: the South Side Community Art Center (SSCAC), founded in 1940, and the DuSable Museum of African American History, founded in her living room in 1961.

As Mary Ann Cain's South Side Venus: The Legacy of Margaret Burroughs reveals, the primary motivations for these efforts were love and hope. Burroughs was spurred by her love for Chicago's African American community—largely ill served by mainstream arts organizations—and by her hope that these new, black-run cultural centers would welcome many generations of aspiring artists and art lovers.

This first, long–awaited biography of Burroughs draws on interviews with peers, colleagues, friends, and family, and extensive archival research at the DuSable Museum, the Art Institute of Chicago, and the Chicago Public Library. Cain traces Burroughs's multifaceted career, details her work and residency on Chicago's South Side, and highlights her relationships with other artists and culture makers. Here, we see Burroughs as teacher and mentor as well as institution builder.

Anchored by the author's talks with Burroughs as they stroll through her beloved Bronzeville, and featuring portraits of Burroughs with family and friends, South Side Venus will enlighten anyone interested in Chicago, African American history, social justice, and the arts.