For over a hundred years, Venezuelans have referred to themselves as a café con leche (coffee with milk) people. This colorful expression well describes the racial composition of Venezuelan society, in which European, African, and Indian peoples have intermingled to produce a population in which almost everyone is of mixed blood. It also expresses a popular belief that within their blended society Venezuelans have achieved a racial democracy in which people of all races live free from prejudice and discrimination. Whether or not historical facts actually support this popular perception is the question Winthrop Wright explores in this study.
Wright's research suggests that, contrary to popular belief, blacks in Venezuela have not enjoyed the full benefits of racial democracy. He finds that their status, even after the abolition of slavery in 1854, remained low in the minds of Venezuelan elites, who idealized the European somatic type and viewed blacks as inferior. Indeed, in an effort to whiten the population, Venezuelan elites promoted European immigration and blocked the entry of blacks and Asians during the early twentieth century.
These attitudes remained in place until the 1940s, when the populist Acción Democrática party (AD) challenged the elites' whitening policies. Since that time, blacks have made significant strides and have gained considerable political power. But, as Wright reveals, other evidence suggests that most remain social outcasts and have not accumulated significant wealth. The popular perception of racial harmony in Venezuela hides the fact of ongoing discrimination.
Drawing on more than a decade of fieldwork, Lewis offers a richly detailed and subtle ethnography of the lives and stories of the people of San Nicolás, including community residents who have migrated to the United States. San Nicoladenses, she finds, have complex attitudes toward blackness—as a way of identifying themselves and as a racial and cultural category. They neither consider themselves part of an African diaspora nor deny their heritage. Rather, they acknowledge their hybridity and choose to identify most deeply with their community.
Hollywood and the news media have repeatedly depicted the inner-city retail store as a scene of racial conflict and acrimony. Civility in the City uncovers a quite different story. Jennifer Lee examines the relationships between African American, Jewish, and Korean merchants and their black customers in New York and Philadelphia, and shows that, in fact, social order, routine, and civility are the norm.
Lee illustrates how everyday civility is negotiated and maintained in countless daily interactions between merchants and customers. While merchant-customer relations are in no way uniform, most are civil because merchants actively work to manage tensions and smooth out incidents before they escalate into racially charged anger. Civility prevails because merchants make investments to maintain the day-to-day routine, recognizing that the failure to do so can have dramatic consequences.
How then do minor clashes between merchants and customers occasionally erupt into the large-scale conflicts we see on television? Lee shows how inner-city poverty and extreme inequality, coupled with the visible presence of socially mobile newcomers, can provide fertile ground for such conflicts. The wonder is that they occur so rarely, a fact that the media ignore.
After World War II the United States faced two preeminent challenges: how to administer its responsibilities abroad as the world’s strongest power, and how to manage the rising movement at home for racial justice and civil rights. The effort to contain the growing influence of the Soviet Union resulted in the Cold War, a conflict that emphasized the American commitment to freedom. The absence of that freedom for nonwhite American citizens confronted the nation’s leaders with an embarrassing contradiction.
Racial discrimination after 1945 was a foreign as well as a domestic problem. World War II opened the door to both the U.S. civil rights movement and the struggle of Asians and Africans abroad for independence from colonial rule. America’s closest allies against the Soviet Union, however, were colonial powers whose interests had to be balanced against those of the emerging independent Third World in a multiracial, anticommunist alliance. At the same time, U.S. racial reform was essential to preserve the domestic consensus needed to sustain the Cold War struggle.
The Cold War and the Color Line is the first comprehensive examination of how the Cold War intersected with the final destruction of global white supremacy. Thomas Borstelmann pays close attention to the two Souths—Southern Africa and the American South—as the primary sites of white authority’s last stand. He reveals America’s efforts to contain the racial polarization that threatened to unravel the anticommunist western alliance. In so doing, he recasts the history of American race relations in its true international context, one that is meaningful and relevant for our own era of globalization.
The coining of the term “intellectuals” in 1898 coincided with W. E. B. Du Bois’s effort to disseminate values and ideals unbounded by the color line. Du Bois’s ideal of a “higher and broader and more varied human culture” is at the heart of a cosmopolitan tradition that Color and Culture identifies as a missing chapter in American literary and cultural history. The book offers a much needed and startlingly new historical perspective on “black intellectuals” as a social category, ranging over a century—from Frederick Douglass to Patricia Williams, from Du Bois, Pauline Hopkins, and Charles Chesnutt to Nella Larsen, Zora Neale Hurston, and Alain Locke, from Ralph Ellison and James Baldwin to Samuel Delany and Adrienne Kennedy. These writers challenge two durable assumptions: that high culture is “white culture” and that racial uplift is the sole concern of the black intellectual.
The remarkable tradition that this book recaptures, culminating in a cosmopolitan disregard for demands for racial “authenticity” and group solidarity, is strikingly at odds with the identity politics and multicultural movements of our day. In the Du Boisian tradition Ross Posnock identifies a universalism inseparable from the particular and open to ethnicity—an approach with the power to take us beyond the provincialism of postmodern tribalism.
Winner, Section on the Sociology of Emotions Outstanding Recent Contribution (Book) Award, American Sociological Association, 2016
Charles Horton Cooley Award for Recent Book, Society for the Study of Symbolic Interaction, 2017
Best Publication Award, Section on Body and Embodiment, American Sociological Association (ASA), 2018
The Color Of Love reveals the power of racial hierarchies to infiltrate our most intimate relationships. Delving far deeper than previous sociologists have into the black Brazilian experience, Elizabeth Hordge-Freeman examines the relationship between racialization and the emotional life of a family. Based on interviews and a sixteen-month ethnography of ten working-class Brazilian families, this provocative work sheds light on how families simultaneously resist and reproduce racial hierarchies. Examining race and gender, Hordge-Freeman illustrates the privileges of whiteness by revealing how those with “blacker” features often experience material and emotional hardships. From parental ties, to sibling interactions, to extended family and romantic relationships, the chapters chart new territory by revealing the connection between proximity to whiteness and the distribution of affection within families.
Hordge-Freeman also explores how black Brazilian families, particularly mothers, rely on diverse strategies that reproduce, negotiate, and resist racism. She frames efforts to modify racial features as sometimes reflecting internalized racism, and at other times as responding to material and emotional considerations. Contextualizing their strategies within broader narratives of the African diaspora, she examines how Salvador’s inhabitants perceive the history of the slave trade itself in a city that is referred to as the “blackest” in Brazil. She argues that racial hierarchies may orchestrate family relationships in ways that reflect and reproduce racial inequality, but black Brazilian families actively negotiate these hierarchies to assert their citizenship and humanity.
A major reevaluation of relationships among Blacks, Jews, and Irish in the years between the Irish Famine and the end of World War II, The Colors of Zion argues that the cooperative efforts and sympathies among these three groups, each persecuted and subjugated in its own way, was much greater than often acknowledged today. For the Black, Jewish, and Irish writers, poets, musicians, and politicians at the center of this transatlantic study, a sense of shared wrongs inspired repeated outpourings of sympathy. If what they have to say now surprises us, it is because our current constructions of interracial and ethnic relations have overemphasized conflict and division. As George Bornstein says in his Introduction, he chooses “to let the principals speak for themselves.”
While acknowledging past conflicts and tensions, Bornstein insists on recovering the “lost connections” through which these groups frequently defined their plights as well as their aspirations. In doing so, he examines a wide range of materials, including immigration laws, lynching, hostile race theorists, Nazis and Klansmen, discriminatory university practices, and Jewish publishing houses alongside popular plays like The Melting Pot and Abie’s Irish Rose, canonical novels like Ulysses and Daniel Deronda, music from slave spirituals to jazz, poetry, and early films such as The Jazz Singer. The models of brotherhood that extended beyond ethnocentrism a century ago, the author argues, might do so once again today, if only we bear them in mind. He also urges us to move beyond arbitrary and invidious categories of race and ethnicity.
Containing more than three hundred poems, including nearly a hundred previously unpublished works, this unique collection showcases the intellectual range of Claude McKay (1889-1948), the Jamaican-born poet and novelist whose life and work were marked by restless travel and steadfast social protest. McKay's first poems were composed in rural Jamaican creole and launched his lifelong commitment to representing everyday black culture from the bottom up. Migrating to New York, he reinvigorated the English sonnet and helped spark the Harlem Renaissance with poems such as "If We Must Die." After coming under scrutiny for his communism, he traveled throughout Europe and North Africa for twelve years and returned to Harlem in 1934, having denounced Stalin's Soviet Union. By then, McKay's pristine "violent sonnets" were giving way to confessional lyrics informed by his newfound Catholicism.
McKay's verse eludes easy definition, yet this complete anthology, vividly introduced and carefully annotated by William J. Maxwell, acquaints readers with the full transnational evolution of a major voice in twentieth-century poetry.
Critical and iconoclastic, Comrade or Brother? traces the history of the British Labour Movement from its beginnings at the onset of industrialisation through its development within a capitalist society, up to the end of the twentieth-century. Written by a leading activist in the labour movement, the book redresses the balance in much labour history writing. It examines the place of women and the influence of racism and sexism as well as providing a critical analysis of the rival ideologies which played a role in the uneven development of the labour movement.
A book of more than 150 striking photographs in both black and white and color, Crossing the Water includes images of elaborate Santería altars and Palo spirit cauldrons, as well as of Santiago and his religious “family” engaged in ritual practices: the feeding of the spirits, spirit possession, and private and collective healing ceremonies. As the charismatic head of a large religious community, Santiago helps his godchildren and others who consult him to cope with physical illness, emotional crises, contentious relationships, legal problems, and the hardships born of day-to-day survival in contemporary Cuba. He draws on the distinct yet intertwined traditions of Santería, Palo Monte, and Espiritismo to foster healing of both mind and body—the three religions form a coherent theological whole for him.
Santiago eventually became Garoutte’s and Wambaugh’s spiritual godfather, and Crossing the Water is informed by their experiences as initiates of Santería and Palo Monte. Their text provides nuanced, clear explanations of the objects and practices depicted in the images. Describing the powerful intensity of human-spirit interactions, and evoking the sights, smells, sounds, and choreography of ritual practice, Crossing the Water takes readers deep inside the intimate world of Afro-Cuban spirituality.
Essays range from a close reading of the 1838 memoirs of a black and Native freewoman to an analysis of how Afro-Native intermarriage has impacted the identities and federal government classifications of certain New England Indian tribes. One contributor explores the aftermath of black slavery in the Choctaw and Chickasaw nations, highlighting issues of culture and citizenship. Another scrutinizes the controversy that followed the 1998 selection of a Miss Navajo Nation who had an African American father. A historian examines the status of Afro-Indians in colonial Mexico, and an ethnographer reflects on oral histories gathered from Afro-Choctaws. Crossing Waters, Crossing Worlds includes evocative readings of several of Toni Morrison’s novels, interpretations of plays by African American and First Nations playwrights, an original short story by Roberta J. Hill, and an interview with the Creek poet and musician Joy Harjo. The Native American scholar Robert Warrior develops a theoretical model for comparative work through an analysis of black and Native intellectual production. In his afterword, he reflects on the importance of the critical project advanced by this volume.
Contributors. Jennifer D. Brody, Tamara Buffalo, David A. Y. O. Chang, Robert Keith Collins, Roberta J. Hill, Sharon P. Holland, ku'ualoha ho’omnawanui, Deborah E. Kanter, Virginia Kennedy, Barbara Krauthamer, Tiffany M. McKinney, Melinda Micco, Tiya Miles, Celia E. Naylor, Eugene B. Redmond, Wendy S. Walters, Robert Warrior
Honorable Mention, Barbara T. Christian Literary Award, Caribbean Studies Association, 2017
In the wake of the 1959 Cuban Revolution, a key state ideology developed: racism was a systemic cultural issue that ceased to exist after the Revolution, and any racism that did persist was a result of contained cases of individual prejudice perpetuated by US influence. Even after the state officially pronounced the end of racism within its borders, social inequalities tied to racism, sexism, and homophobia endured, and, during the economic liberalization of the 1990s, widespread economic disparities began to reemerge.
Cuban Underground Hip Hop focuses on a group of self-described antiracist, revolutionary youth who initiated a social movement (1996–2006) to educate and fight against these inequalities through the use of arts-based political activism intended to spur debate and enact social change. Their “revolution” was manifest in altering individual and collective consciousness by critiquing nearly all aspects of social and economic life tied to colonial legacies. Using over a decade of research and interviews with those directly involved, Tanya L. Saunders traces the history of the movement from its inception and the national and international debates that it spawned to the exodus of these activists/artists from Cuba and the creative vacuum they left behind. Shedding light on identity politics, race, sexuality, and gender in Cuba and the Americas, Cuban Underground Hip Hop is a valuable case study of a social movement that is a part of Cuba’s longer historical process of decolonization.
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