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An intimate history that puts the Black church at the heart of New England’s struggle with race, power, and belonging

On the eve of Barack Obama’s historic election in 2008, the Macedonia Church of God in Christ in Springfield, Massachusetts—a church built by historian Todd E. Robinson’s family—was set ablaze in an act of racial terror. This devastating event echoes a long history of attacks on Black churches, institutions that have served as vital centers of faith, civic life, and community organization.

In Faith in the Fire, Robinson charts the evolution of Springfield’s Black community from its seventeenth-century beginnings through the Great Migration and into the twenty-first century. Centering the Black church, he demonstrates how African Americans shaped the city’s industrial, cultural, and civic landscape, building social networks and organizations that became enduring anchors of community life. From the League of Gileadites, an all-Black armed anti-slavery militia, to twentieth-century initiatives like the Springfield Plan—a pioneering but short-lived experiment in interracial education—Robinson uncovers the city’s deep history of Black resistance to white supremacy. In doing so, he exposes the limits of New England’s mythic racial tolerance. Racial violence, police brutality, economic inequality, educational disparities, and housing segregation, Robinson argues, are not aberrations of the South but also enduring features of Northern life and culture.

Drawing on extensive archival research and his own family’s experience, Robinson offers a powerful and deeply personal narrative that links past and present. Through the intertwined story of Springfield’s Black community and the destruction of one of its most cherished institutions, he illuminates how the long struggle for freedom, justice, and belonging continues to shape the life of Black Americans and the nation as a whole.

Music can be a storehouse for emotional, social, and cultural experiences that deepen and acquire greater value over time. This is a book about a particular genre of vocal harmony music called doo-wop that has accrued deep meaning and affective power among Americans since its inception in the aftermath of World War II. Although the first doo-wop singers were primarily young black males in major American cities, it wasn't long before white working-class teenagers began emulating their rhythm-and-blues harmonies. The racial exchange of this distinctive genre and the social bonding it engendered have had a significant and lasting impact on American musical culture. 

In Forever Doo-Wop, John Runowicz traces the history of this music from its origins in nineteenth-century barbershop quartets through its emergence in the postwar era to its nostalgic adulthood from the mid-1960s to today. The book is based on interviews he has conducted and observations he has made over the last twenty-two years working as guitarist, musical director, and second tenor with one of the legendary doo-wop groups, the Cadillacs, on what is popularly known as the “oldies circuit.” As a graduate student, he broadened his research to include the wider doo-wop community. 

Forever Doo-Wop invites readers to gaze through a window on our society and culture where certain truths are revealed about how white and black Americans coexist and interact, about how popular music functions as a vehicle for nostalgia, and about the role of music making over a long lifetime.

Peruvian members of the Church of Jesus Christ of Latter-day Saints face the dilemma of embracing their faith while finding space to nourish their Peruvianness. Jason Palmer draws on eight years of fieldwork to provide an on-the-ground look at the relationship between Peruvian Saints and the racial and gender complexities of the contemporary Church.

Peruvian Saints discovered that the foundational ideas of kinship and religion ceased being distinct categories in their faith. At the same time, they came to see that LDS rituals and reenactments placed coloniality in opposition to the Peruvians’ indigenous roots and family against the more expansive Peruvian idea of familia. In part one, Palmer explores how Peruvian Saints resolved the first clash by creating the idea of a new pioneer indigeneity that rejected victimhood in favor of subtle engagements with power. Part two illuminates the work performed by Peruvian Saints as they stretched the Anglo Church’s model of the nuclear family to encompass familia.

Winner, Wayland D. Hand Prize, American Folklore Society, 2018

Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny” became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown.

In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny” in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.

From Jim Crow to Jay-Z traces black male representations to chattel slavery and American minstrelsy as early examples of fetishization and commodification of black male subjectivity. Continuing with diverse discussions including black action films, heavyweight prizefighting, Elvis Presley's performance of blackness, and white rappers such as Vanilla Ice and Eminem, White establishes a sophisticated framework for interpreting and critiquing black masculinity in hip-hop music and culture. Arguing that black music has undeniably shaped American popular culture and that hip-hop tropes have exerted a defining influence on young male aspirations and behavior, White draws a critical link between the body, musical sound, and the construction of identity.

A personal, provocative, and boundary-breaking volume on the power relations that racialized, gendered, and sexualized researchers grapple with while conducting activist research.

Fugitive Anthropology is a transnational, intergenerational engagement that extends feminist theory, activist research methodologies, and the discipline of anthropology in new directions. Contributors examine the tensions that arise from conducting politically engaged, collaborative research alongside communities in struggle, in particular theorizing from the experiences of racialized women, queer, trans, and gender nonconforming researchers across distinct geographies. Essays contend with the matrices of colonial, imperial, and patriarchal violence that afflict the researchers and communities with which they seek political alignment.

Articulating an ethnographic practice grounded in Black and Indigenous political struggles and committed to collective liberation, the volume reflects on what it means to navigate violent relations of power, systemic inequities, and current onslaughts shaping field research and US academia. Ultimately, Fugitive Anthropology argues that a feminist ethos—one that embraces embodied knowledges and fugitive sensibilities—forges liberatory spaces that break from dominant masculinist frames of the “political” and challenge colonial regimes within and beyond the neoliberal university.

Looks to the philosophy and experience of prisoners to reinvigorate our concepts of justice, solidarity, and freedom

In Fugitive Thought, Michael Hames-García argues that writings by prisoners are instances of practical social theory that seek to transform the world. Unlike other authors who have studied prisons or legal theory, Hames-García views prisoners as political and social thinkers whose ideas are as valuable as those of lawyers and philosophers.