Winner of the Richard L. Wentworth Prize in American History, Byron Caldwell Smith Book Prize, and the William Rockhill Nelson Award
On a hot summer evening in 1958, a group of African American students in Wichita, Kansas, quietly entered Dockum's Drug Store and sat down at the whites-only lunch counter. This was the beginning of the first sustained, successful student sit-in of the modern civil rights movement, instigated in violation of the national NAACP's instructions.
Dissent in Wichita traces the contours of race relations and black activism in this unexpected locus of the civil rights movement. Based on interviews with more than eighty participants in and observers of Wichita's civil rights struggles, this powerful study hones in on the work of black and white local activists, setting their efforts in the context of anticommunism, FBI operations against black nationalists, and the civil rights policies of administrations from Eisenhower through Nixon.
Through her close study of events in Wichita, Eick reveals the civil rights movement as a national, not a southern, phenomenon. She focuses particularly on Chester I. Lewis, Jr., a key figure in the local as well as the national NAACP. Lewis initiated one of the earliest investigations of de facto school desegregation by the Department of Health, Education, and Welfare and successfully challenged employment discrimination in the nation's largest aircraft industries.
Dissent in Wichita offers a moving account of the efforts of Lewis, Vivian Parks, Anna Jane Michener, and other courageous individuals to fight segregation and discrimination in employment, public accommodations, housing, and schools. This volume also offers the first extended examination of the Young Turks, a radical movement to democratize and broaden the agenda of the NAACP for which Lewis provided critical leadership.
Through a close study of personalities and local politics in Wichita over two decades, Eick demonstrates how the tenor of black activism and white response changed as economic disparities increased and divisions within the black community intensified. Her analysis, enriched by the words and experiences of men and women who were there, offers new insights into the civil rights movement as a whole and into the complex interplay between local and national events.
Led by the Office of Economic Opportunity, Lyndon Johnson's War on Poverty reflected the president's belief that, just as the civil rights movement and federal law tore down legalized segregation, progressive government and grassroots activism could eradicate poverty in the United States. Yet few have attempted to evaluate the relationship between the OEO and the freedom struggles of the 1960s. Focusing on the unique situation presented by Texas, Freedom Is Not Enough examines how the War on Poverty manifested itself in a state marked by racial division and diversity—and by endemic poverty.
Though the War on Poverty did not eradicate destitution in the United States, the history of the effort provides a unique window to examine the politics of race and social justice in the 1960s. William S. Clayson traces the rise and fall of postwar liberalism in the Lone Star State against a backdrop of dissent among Chicano militants and black nationalists who rejected Johnson's brand of liberalism. The conservative backlash that followed is another result of the dramatic political shifts revealed in the history of the OEO, completing this study of a unique facet in Texas's historical identity.
The original book on the renowned Freedom quilters of Gee's Bend
In December of 1965, the year of the Selma-to-Montgomery march, a white Episcopal priest driving through a desperately poor, primarily black section of Wilcox County found himself at a great bend of the Alabama River. He noticed a cabin clothesline from which were hanging three magnificent quilts unlike any he had ever seen. They were of strong, bold colors in original, op-art patterns—the same art style then fashionable in New York City and other cultural centers. An idea was born and within weeks took on life, in the form of the Freedom Quilting Bee, a handcraft cooperative of black women artisans who would become acclaimed throughout the nation.
Winner, Charles Hatfield Book Prize, Comic Studies Society, 2020
A CHOICE Outstanding Academic Title, 2019
The history of America’s civil rights movement is marked by narratives that we hear retold again and again. This has relegated many key figures and turning points to the margins, but graphic novels and graphic memoirs present an opportunity to push against the consensus and create a more complete history. Graphic Memories of the Civil Rights Movement showcases five vivid examples of this:
Ho Che Anderson's King (2005), which complicates the standard biography of Martin Luther King Jr.; Congressman John Lewis's three-volume memoir, March (2013–2016); Darkroom (2012), by Lila Quintero Weaver, in which the author recalls her Argentinian father’s participation in the movement and her childhood as an immigrant in the South; the bestseller The Silence of Our Friends, by Mark Long, Jim Demonakos, and Nate Powell (2012), set in Houston's Third Ward in 1967; and Howard Cruse's Stuck Rubber Baby (1995), whose protagonist is a closeted gay man involved in the movement.
In choosing these five works, Jorge Santos also explores how this medium allows readers to participate in collective memory making, and what the books reveal about the process by which history is (re)told, (re)produced, and (re)narrativized. Concluding the work is Santos’s interview with Ho Che Anderson.
A depiction of moral imagination that resonates today, Have You Got Good Religion? reveals how Black Churchwomen’s understanding of God became action and transformed a nation.
After the triumphs of Montgomery and Selma, Martin Luther King, Jr., rallied his forces and headed north. The law was on his side, the nation seemed to be behind him, the crusade for civil rights was rapidly gathering momentum—and then, in Chicago, heartland of America, the movement stalled. What happened? This book is the first to give us the full story—a vivid account of how the Chicago Freedom Movement of 1965–1967 attempted to combat northern segregation. Northern Protest captures this new kind of campaign for civil rights at a fateful turning point, with effects that pulse through the nation’s race relations to the day.
Combating the outright, unconstitutional denial of basic political and civil rights had been King’s focus in the South. In the North, the racial terrain was different. James Ralph analyzes the shift in the planning stages—moving from addressing public constitutional rights to private-impact legal rights—as King and his Southern Christian Leadership Conference (SCLC) mounted an unprecedented attack on housing discrimination, one of the most blatant social and economic inequities of urban America. A crisis in the making is unfolded as King, the SCLC, and a coalition of multiracial Chicago civil rights groups mobilize protests against the city’s unfair housing practices. Ralph introduces us to Chicago’s white ethnics, city officials, and business and religious leaders in a heated confusion of responses. His vibrant account, based in part on many in-depth interviews with participants, reveals the true lineaments of urban America, with lessons reaching beyond the confines of the city. The Chicago Freedom Movement is given a national context—as King envisioned it, and as it finally played out. Here, the Chicago crusade becomes emblematic of the civil rights movement today and tomorrow. Ralph argues that this new push for equality in more private realms of American life actually undermined popular support for the movement and led to its ultimate decline.
Outside Agitator tells the dramatic, largely forgotten storybehind the 1965 killing of civil rights worker Jonathan Myrick "Jon" Daniels in Lowndes County, Alabama, detailing the lives of the killer and the victim. A white Episcopal seminary student from New Hampshire, Jon Daniels helped organize blacks in Selma during the events that led to the Selma-to-Montgomery march. In August 1965 he was fatally shot in neighboring Lowndes County by Tom Coleman, a highway department engineer and steadfast segregationist, who was later acquitted by an all-white jury.
Lowndes County was a bastion of white minority dominance. For half a century, no black had voted or served on a jury there. Known for the violence used by whites to maintain their control, "bloody" Lowndes presented Daniels and other civil rights workers with almost insurmountable obstacles. Tom Coleman, a Lowndes County native, represented the consensus among local whites that violent resistance to racial change was justified. To defend his community and to prevent change, he resorted to violence against "outside agitators."
Following the deaths of a score of other civil rights workers, the killing of Jon Daniels was in many ways the last atrocity of the first, southern, nonviolent phase of the Civil Rights movement. This exploration of how Daniels and Coleman came to be at opposite ends of a shotgun outside a county store captures the mechanics and emotions of forces promoting and resisting change in southern race relations. Charles Eagles reminds us that however representative Daniels and Coleman may have been of larger forces, they were nevertheless real individuals with distinctive personalities caught up in specific circumstances.
Recovering the stage work of one of America's finest black female writers
This volume collects twelve of Georgia Douglas Johnson's one-act plays, including two never-before-published scripts found in the Library of Congress. As an integral part of Washington, D.C.'s, thriving turn-of-the-century literary scene, Johnson hosted regular meetings with Harlem Renaissance writers and other artists, including Countee Cullen, Langston Hughes, May Miller, and Jean Toomer, and was herself considered among the finest writers of the time. Johnson also worked for U.S. government agencies and actively supported women's and minorities' rights.
As a leading authority on Johnson, Judith L. Stephens provides a brief overview of Johnson's career and significance as a playwright; sections on the creative environment in which she worked; her S Street Salon; "The Saturday Nighters," and its significance to the New Negro Theatre; selected photographs; and a discussion of Johnson's genres, themes, and artistic techniques.
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