Brendan O’Flaherty brings the tools of economic analysis—incentives, equilibrium, optimization, and more—to bear on contentious issues of race in the United States. In areas ranging from quality of health care and education, to employment opportunities and housing, to levels of wealth and crime, he shows how racial differences among blacks, whites, Hispanics, and Asian Americans remain a powerful determinant in the lives of twenty-first-century Americans. More capacious than standard texts, The Economics of Race in the United States discusses important aspects of history and culture and explores race as a social and biological construct to make a compelling argument for why race must play a major role in economic and public policy. People are not color-blind, and so policies cannot be color-blind either.

Because his book addresses many topics, not just a single area such as labor or housing, surprising threads of connection emerge in the course of O’Flaherty’s analysis. For example, eliminating discrimination in the workplace will not equalize earnings as long as educational achievement varies by race—and educational achievement will vary by race as long as housing and marriage markets vary by race. No single engine of racial equality in one area of social and economic life is strong enough to pull the entire train by itself. Progress in one place is often constrained by diminishing marginal returns in another. Good policies can make a difference, and only careful analysis can figure out which policies those are.

Edna Ferber's Hollywood reveals one of the most influential artistic relationships of the twentieth century—the four-decade partnership between historical novelist Edna Ferber and the Hollywood studios. Ferber was one of America's most controversial popular historians, a writer whose uniquely feminist, multiracial view of the national past deliberately clashed with traditional narratives of white masculine power. Hollywood paid premium sums to adapt her novels, creating some of the most memorable films of the studio era—among them Show Boat, Cimarron, and Giant. Her historical fiction resonated with Hollywood's interest in prestigious historical filmmaking aimed principally, but not exclusively, at female audiences.

In Edna Ferber's Hollywood, J. E. Smyth explores the research, writing, marketing, reception, and production histories of Hollywood's Ferber franchise. Smyth tracks Ferber's working relationships with Samuel Goldwyn, Leland Hayward, George Stevens, and James Dean; her landmark contract negotiations with Warner Bros.; and the controversies surrounding Giant's critique of Jim-Crow Texas. But Edna Ferber's Hollywood is also the study of the historical vision of an American outsider—a woman, a Jew, a novelist with few literary pretensions, an unashamed middlebrow who challenged the prescribed boundaries among gender, race, history, and fiction. In a masterful film and literary history, Smyth explores how Ferber's work helped shape Hollywood's attitude toward the American past.

Embodying Modernity examines the current boom of fitness culture in Brazil in the context of the white patriarchal notions of race, gender, and sexuality through which fitness practice, commodities, and cultural products traffic. The book traces the imperial meanings and orders of power conveyed through “fit” bodies and their different configurations of muscularity, beauty, strength, and health within mainstream visual media and national and global public spheres. Drawing from a wide range of Brazilian visual media sources including fitness magazines, television programs, film, and social media, Daniel F. Silva theorizes concepts and renderings of modern corporality, its racialized and gendered underpinnings, and its complex relationship to white patriarchal power and capital. This study works to define the ubiquitous parameters of fitness culture and argues that its growth is part of a longer collective nationalist project of modernity tied to whiteness, capitalist ideals, and historical exceptionalism.

Since the end of World War II, the United States has come to dominate the world economically and politically, leading many to describe the United States as an empire. Scholars have analyzed how the US government has worked through international financial institutions, its Central Intelligence Agency, and outright warfare to achieve its will. In this book, Timothy M. Gill spotlights how the US government also worked through democracy promotion to undermine governments abroad, including in Venezuela. President Hugo Chávez, who ruled from 1999 until his death in 2013, was among the democratically elected Latin American state leaders who embraced socialism and challenged the idea of US global power. Gill shows how US government agencies funded and trained opposition parties and activists, and how such intervention often was justified in neocolonial and racist terms. Through analysis of documents obtained through Freedom of Information Act requests, embassy cables, and interviews with US government and Venezuelan nonprofit members, Gill details such operations and the imperial thinking behind them.

The transformation of Southern politics after World War II changed the political life not just of this distinctive region, but of the entire nation. Until now, the critical shift in Southern political allegiance from Democratic to Republican has been explained, by scholars and journalists, as a white backlash to the civil rights revolution.

In this myth-shattering book, Byron Shafer and Richard Johnston refute that view, one stretching all the way back to V. O. Key in his classic book Southern Politics. The true story is instead one of dramatic class reversal, beginning in the 1950s and pulling everything else in its wake. Where once the poor voted Republican and the rich Democrat, that pattern reversed, as economic development became the engine of Republican gains. Racial desegregation, never far from the heart of the story, often applied the brakes to these gains rather than fueling them.

A book that is bound to shake up the study of Southern politics, this will also become required reading for pundits and political strategists, for all those who argue over what it takes to carry the South.

With the appearance of the urban, modern, diverse "New Negro" in the Harlem Renaissance, writers and critics began a vibrant debate on the nature of African-American identity, community, and history. Martha Jane Nadell offers an illuminating new perspective on the period and the decades immediately following it in a fascinating exploration of the neglected role played by visual images of race in that debate.

After tracing the literary and visual images of nineteenth-century "Old Negro" stereotypes, Nadell focuses on works from the 1920s through the 1940s that showcased important visual elements. Alain Locke and Wallace Thurman published magazines and anthologies that embraced modernist images. Zora Neale Hurston's Mules and Men, with illustrations by Mexican caricaturist Miguel Covarrubias, meditated on the nature of black Southern folk culture. In the "folk history" Twelve Million Black Voices, Richard Wright matched prose to Farm Security Administration photographs. And in the 1948 Langston Hughes poetry collection One Way Ticket, Jacob Lawrence produced a series of drawings engaging with Hughes's themes of lynching, race relations, and black culture. These collaborations addressed questions at the heart of the movement and in the era that followed it: Who exactly were the New Negroes? How could they attack past stereotypes? How should images convey their sense of newness, possibility, and individuality? In what directions should African-American arts and letters move?

Featuring many compelling contemporary illustrations, Enter the New Negroes restores a critical visual aspect to African-American culture as it evokes the passion of a community determined to shape its own identity and image.