Un-American is Bill Mullen’s revisionist account of renowned author and activist W.E.B. Du Bois’s political thought toward the end of his life, a period largely dismissed and neglected by scholars. He describes Du Bois’s support for what the Communist International called “world revolution” as the primary objective of this aged radical’s activism. Du Bois was a champion of the world’s laboring millions and critic of the Cold War, a man dedicated to animating global political revolution.
Mullen argues that Du Bois believed that the Cold War stalemate could create the conditions in which the world powers could achieve not only peace but workers’ democracy. Un-American shows Du Bois to be deeply engaged in international networks and personal relationships with revolutionaries in India, China, and Africa. Mullen explores how thinkers like Karl Marx, Jawaharlal Nehru, Mohandas Gandhi, and C.L.R. James helped him develop a theory of world revolution at a stage in his life when most commentators regard him as marginalized. This original political biography also challenges assessments of Du Bois as an American “race man.”
What accounts for the persistence of the figure of the black criminal in popular culture created by African Americans? Unearthing the overlooked history of art that has often seemed at odds with the politics of civil rights and racial advancement, Under a Bad Sign explores the rationale behind this tradition of criminal self-representation from the Harlem Renaissance to contemporary gangsta culture.
In this lively exploration, Jonathan Munby takes a uniquely broad view, laying bare the way the criminal appears within and moves among literary, musical, and visual arts. Munby traces the legacy of badness in Rudolph Fisher and Chester Himes’s detective fiction and in Claude McKay, Julian Mayfield, and Donald Goines’s urban experience writing. Ranging from Peetie Wheatstraw’s gangster blues to gangsta rap, he also examines criminals in popular songs. Turning to the screen, the underworld films of Oscar Micheaux and Ralph Cooper, the 1970s blaxploitation cycle, and the 1990s hood movie come under his microscope as well. Ultimately, Munby concludes that this tradition has been a misunderstood aspect of African American civic life and that, rather than undermining black culture, it forms a rich and enduring response to being outcast in America.
Seigel explores the circulation of images of Brazilian coffee and of maxixe in the United States during the period just after the imperial expansions of the early twentieth century. Exoticist interpretations structured North Americans’ paradoxical sense of themselves as productive “consumer citizens.” Some people, however, could not simply assume the privileges of citizenship. In their struggles against racism, Afro-descended citizens living in Rio de Janeiro, São Paulo, New York, and Chicago encountered images and notions of each other, and found them useful. Seigel introduces readers to cosmopolitan Afro-Brazilians and African Americans who rarely traveled far from home but who nonetheless absorbed ideas from abroad. She suggests that studies comparing U.S. and Brazilian racial identities as two distinct constructions are misconceived. Racial formation transcends national borders; attempts to understand it must do the same.
The award-winning art historian and founder of Vision & Justice uncovers a pivotal era in the story of race in the United States when Americans came to ignore the truth about the false foundations of the nation’s racial regime.
In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation’s racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now.
The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them.
To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it.
Since the 1960s, Martin Luther King, Jr., has personified black leadership with his use of direct action protests against white authority. A century ago, in the era of Jim Crow, Booker T. Washington pursued a different strategy to lift his people. In this compelling biography, Norrell reveals how conditions in the segregated South led Washington to call for a less contentious path to freedom and equality. He urged black people to acquire economic independence and to develop the moral character that would ultimately gain them full citizenship. Although widely accepted as the most realistic way to integrate blacks into American life during his time, Washington’s strategy has been disparaged since the 1960s.
The first full-length biography of Booker T. in a generation, Up from History recreates the broad contexts in which Washington worked: He struggled against white bigots who hated his economic ambitions for blacks, African-American intellectuals like W. E. B. Du Bois who resented his huge influence, and such inconstant allies as Theodore Roosevelt. Norrell details the positive power of Washington’s vision, one that invoked hope and optimism to overcome past exploitation and present discrimination. Indeed, his ideas have since inspired peoples across the Third World that there are many ways to struggle for equality and justice. Up from History reinstates this extraordinary historical figure to the pantheon of black leaders, illuminating not only his mission and achievement but also, poignantly, the man himself.
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