front cover of Being Somebody and Black Besides
Being Somebody and Black Besides
An Untold Memoir of Midcentury Black Life
George B. Nesbitt
University of Chicago Press, 2021
An immersive multigenerational memoir that recounts the hopes, injustices, and triumphs of a Black family fighting for access to the American dream in the twentieth century.

The late Chicagoan George Nesbitt could perhaps best be described as an ordinary man with an extraordinary gift for storytelling. In his newly uncovered memoir—written fifty years ago, yet never published—he chronicles in vivid and captivating detail the story of how his upwardly mobile Midwestern Black family lived through the tumultuous twentieth century.
 
Spanning three generations, Nesbitt’s tale starts in 1906 with the Great Migration and ends with the Freedom Struggle in the 1960s. He describes his parents’ journey out of the South, his struggle against racist military authorities in World War II, the promise and peril of Cold War America, the educational and professional accomplishments he strove for and achieved, the lost faith in integration, and, despite every hardship, the unwavering commitment by three generations of Black Americans to fight for a better world. Through all of it—with his sharp insights, nuance, and often humor—we see a family striving to lift themselves up in a country that is working to hold them down.
 
Nesbitt’s memoir includes two insightful forewords: one by John Gibbs St. Clair Drake (1911–90), a pioneer in the study of African American life, the other a contemporary rumination by noted Black studies scholar Imani Perry. A rare first-person, long-form narrative about Black life in the twentieth century, Being Somebody and Black Besides is a remarkable literary-historical time capsule that will delight modern readers.
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Prophets of the Hood
Politics and Poetics in Hip Hop
Imani Perry
Duke University Press, 2004
At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and culture of hip hop through an analysis of song lyrics, the words of the prophets of the hood. Recognizing prevailing characterizations of hip hop as a transnational musical form, Perry advances a powerful argument that hip hop is first and foremost black American music. At the same time, she contends that many studies have shortchanged the aesthetic value of rap by attributing its form and content primarily to socioeconomic factors. Her innovative analysis revels in the artistry of hip hop, revealing it as an art of innovation, not deprivation.

Perry offers detailed readings of the lyrics of many hip hop artists, including Ice Cube, Public Enemy, De La Soul, krs-One, OutKast, Sean “Puffy” Combs, Tupac Shakur, Lil’ Kim, Biggie Smalls, Nas, Method Man, and Lauryn Hill. She focuses on the cultural foundations of the music and on the form and narrative features of the songs—the call and response, the reliance on the break, the use of metaphor, and the recurring figures of the trickster and the outlaw. Perry also provides complex considerations of hip hop’s association with crime, violence, and misogyny. She shows that while its message may be disconcerting, rap often expresses brilliant insights about existence in a society mired in difficult racial and gender politics. Hip hop, she suggests, airs a much wider, more troubling range of black experience than was projected during the civil rights era. It provides a unique public space where the sacred and the profane impulses within African American culture unite.

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Vexy Thing
On Gender and Liberation
Imani Perry
Duke University Press, 2018
Even as feminism has become increasingly central to our ideas about institutions, relationships, and everyday life, the term used to diagnose the problem—“patriarchy”—is used so loosely that it has lost its meaning. In Vexy Thing Imani Perry resurrects patriarchy as a target of critique, recentering it to contemporary discussions of feminism through a social and literary analysis of cultural artifacts from the Enlightenment to the present. Drawing on a rich array of sources—from nineteenth-century slavery court cases and historical vignettes to writings by Toni Morrison and Audre Lorde and art by Kara Walker and Wangechi Mutu—Perry shows how the figure of the patriarch emerged as part and parcel of modernity, the nation-state, the Industrial Revolution, and globalization. She also outlines how digital media and technology, neoliberalism, and the security state continue to prop up patriarchy. By exploring the past and present of patriarchy in the world we have inherited and are building for the future, Perry exposes its mechanisms of domination as a necessary precursor to dismantling it.
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