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A landmark survey of African American literature about Black experiences of the maritime environment.

The ocean is foundational to the story of Africans in America, beginning with the searing Middle Passage. Initially evoking terror, pain, and death, the ocean also became associated with escape, empowerment, freedom, and home, as over time, African Americans in seaport towns found work, built communities, and gained knowledge from travelers. David R. Anderson shows in this groundbreaking collection of memoir, fiction, poetry, and more that African American maritime literature summons many of the traditional themes—survival in the face of overwhelming natural force, sublimity, demonstration of skill and merit, and self-discovery—but often with an eye on legacies of imperialism, slavery, discrimination, and cultural erasure.

Divided thematically across ten sections that address peril, labor, recreation, and more, the book gathers work by influential writers and intellectuals from the eighteenth century to the present, including: Lucille Clifton, Edwidge Danticat, Frederick Douglass, Alice Dunbar-Nelson, W. E. B. DuBois, Camille T. Dungy, Marcus Garvey, Robert Hayden, Zora Neale Hurston, Major Jackson, Harriet Jacobs, John S. Jacobs, Nella Larsen, Claude McKay, Toni Morrison, Walter Mosley, Natasha Trethewey, Phillis Wheatley, Colson Whitehead, and Kevin Young. 

In 1912, white land developers founded Idlewild, an African American resort community in western Michigan. Over the following decades, the town became one of the country’s foremost vacation destinations for the black middle class, during its peak drawing tens of thousands of visitors annually and hosting the era’s premier entertainers, such as The Four Tops, Della Reese, Brook Benton, and George Kirby. With the civil rights movement and the resulting expansion of recreation options available to African Americans, Idlewild suffered a sharp social and economic decline, and by the early 1980s the town had become a struggling retirement community in the midst of financial and political crises.

Meticulously researched and unearthing never-before-seen historical material, Ronald J. Stephens’s book examines the rapid rise and decline of this pivotal landmark in African American and leisure history, in the process exploring intersections among race, class, tourism, entertainment, and historic preservation in the United States. Featuring a wealth of fieldwork on contemporary Idlewild, the book also takes a candid look at recent revitalization efforts and analyzes the possibilities for a future resurgence of this national treasure.

An insider’s record of the St. Augustine Civil Rights drama.

This memoir recounts the struggle against segregation in St. Augustine, Florida, in the early and mid-1960s. In the summer of 1964 the nation’s oldest city became the center of the civil rights movement as Martin Luther King Jr., encouraged by President Johnson, a southerner, who made the civil rights bill the center piece of his domestic policy, chose this tourism-driven community as an ideal location to demonstrate the injustice of discrimination and the complicity of southern leaders in its enforcement.

St. Augustine was planning an elaborate celebration of its founding, and expected generous federal and state support. But when the kick-off dinner was announced only whites were invited, and local black leaders protested. The affair alerted the national civil rights leadership to the St. Augustine situation as well as fueling local black resentment.

Ferment in the city grew, convincing King to bring his influence to the leadership of the local struggle. As King and his allies fought for the right to demonstrate, a locally powerful Ku Klux Klan counter-demonstrated. Conflict ensued between civil rights activists, local and from out-of-town, and segregationists, also home-grown and imported. The escalating violence of the Klan led Florida’s Governor to appoint State Attorney Dan Warren as his personal representative in St. Augustine. Warren’s crack down on the Klan and his innovative use of the Grand Jury to appoint a bi-racial committee against the intransigence of the Mayor and other officials, is a fascinating story of moral courage. This is an insider view of a sympathetic middleman in the difficult position of attempting to bring reason and dialog into a volatile situation.

Philadelphia has long been a crucial site for the development of Black politics across the nation. If There Is No Struggle There Is No Progress provides an in-depth historical analysis—from the days of the Great Migration to the present—of the people and movements that made the city a center of political activism. The editor and contributors show how Black activists have long protested against police abuse, pushed for education reform, challenged job and housing discrimination, and put presidents in the White House.  

If There Is No Struggle There Is No Progress emphasizes the strength of political strategies such as the “Don’t Buy Where You Can’t Work” movement and the Double V campaign. It demonstrates how Black activism helped shift Philadelphia from the Republican machine to Democratic leaders in the 1950s and highlights the election of politicians like Robert N. C. Nix, Sr., the first African American representative from Philadelphia. In addition, it focuses on grassroots movements and the intersection of race, gender, class, and politics in the 1960s, and shows how African Americans from the 1970s to the present challenged Mayor Frank Rizzo and helped elect Mayors Wilson Goode, John Street, and Michael Nutter. 

If There Is No Struggle There Is No Progress cogently makes the case that Black activism has long been a powerful force in Philadelphia politics.

Focusing on the years from 1922 to 1938, this book revisits an important moment in black cultural history to explore how visual elements were used in poems, novels, and photography to undermine existing stereotypes. Miriam Thaggert identifies and analyzes an early form of black American modernism characterized by a heightened level of experimentation with visual and verbal techniques for narrating and representing blackness. The work of the writers and artists under discussion reflects the creative tension between the intangibility of some forms of black expression, such as spirituals, and the materiality of the body evoked by other representations of blackness, such as “Negro” dialect. 

By paying special attention to the contributions of photographers and other visual artists who have not been discussed in previous accounts of black modernism, Thaggert expands the scope of our understanding of the Harlem Renaissance and contributes to a growing recognition of the importance of visual culture as a distinct element within, and not separate from, black literary studies. 

Thaggert trains her critical eye on the work of James Weldon Johnson, Nella Larsen, George Schuyler, Carl Van Vechten, James Van Der Zee, and Aaron Siskind—artists who experimented with narrative and photographic techniques in order to alter the perception of black images and to question and reshape how one reads and sees the black body. Examining some of the more problematic authors and artists of black modernism, she challenges entrenched assumptions about black literary and visual representations of the early to mid twentieth century. 

Thaggert concludes her study with a close look at the ways in which Harlem and the Harlem Renaissance were reimagined and memorialized in two notable texts—Wallace Thurman's 1932 satire Infants of the Spring and the Metropolitan Museum of Art's controversial 1969 exhibition “Harlem on My Mind: The Cultural Capital of Black America, 1900–1968.”

Black communities in America have a long history of constructing sanctuaries amid oppression, from the secret hush harbors of slavery to the digital refuges created in response to the resurgence of white supremacist violence in the Trump era. These havens have offered places to grieve and to gather, to imagine freedom when the world denied it, and to practice care and resistance in the face of constant danger. They remind us that even in the darkest moments, Black people have made space to grieve, rest, heal, strategize, and imagine new futures.

In Hush to Harbor traces this enduring sanctuary-making through both historical memory and contemporary expression from the legacy of Freedmen’s Towns and Green Books for Motorists in the Jim Crow era as testaments to Black mobility and mutual protection to present-day digital activism and grassroots organizing that reimagine safety in the public sphere. 

Blending literary criticism, cultural history, and ethnography, Scott demonstrates that sanctuary is not merely a place of retreat but a political and spiritual practice that calls forth a collective act of making space when none is offered. In Hush to Harbor offers not just a chronicle of survival but a blueprint for sustaining Black refuge in a time of urgent need, redefining what it means to be safe in a nation that has never guaranteed safety for Black life.

The rich, complex lives of African Americans in Texas were often neglected by the mainstream media, which historically seldom ventured into Houston's Fourth Ward, San Antonio's East Side, South Dallas, or the black neighborhoods in smaller cities. When Bill Minutaglio began writing for Texas newspapers in the 1970s, few large publications had more than a token number of African American journalists, and they barely acknowledged the things of lasting importance to the African American community. Though hardly the most likely reporter—as a white, Italian American transplant from New York City—for the black Texas beat, Minutaglio was drawn to the African American heritage, seeking its soul in churches, on front porches, at juke joints, and anywhere else that people would allow him into their lives. His nationally award-winning writing offered many Americans their first deeper understanding of Texas's singular, complicated African American history.

This eclectic collection gathers the best of Minutaglio's writing about the soul of black Texas. He profiles individuals both unknown and famous, including blues legends Lightnin' Hopkins, Amos Milburn, Robert Shaw, and Dr. Hepcat. He looks at neglected, even intentionally hidden, communities. And he wades into the musical undercurrent that touches on African Americans' joys, longings, and frustrations, and the passing of generations. Minutaglio's stories offer an understanding of the sweeping evolution of music, race, and justice in Texas. Moved forward by the musical heartbeat of the blues and defined by the long shadow of racism, the stories measure how far Texas has come . . . or still has to go.

Investigates the connections between jazz, sexual identity, and radical black politics

In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on “The Burton Greene Affair,” exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance—culture, politics, sexuality, identity, and blackness itself—is improvisation.

For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten’s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other.

From National Book Award winner Patricia Smith 
 
One of the most magnetic and esteemed poets in today’s literary landscape, Patricia Smith fearlessly confronts the tyranny against the black male body and the tenacious grief of mothers in her compelling new collection, Incendiary Art. She writes an exhaustive lament for mothers of the "dark magicians," and revisits the devastating murder of Emmett Till. These dynamic sequences serve as a backdrop for present-day racial calamities and calls for resistance. Smith embraces elaborate and eloquent language— "her gorgeous fallen son a horrid hidden / rot. Her tiny hand starts crushing roses—one by one / by one she wrecks the casket’s spray. It’s how she / mourns—a mother, still, despite the roar of thorns"— as she sharpens her unerring focus on incidents of national mayhem and mourning. Smith envisions, reenvisions, and ultimately reinvents the role of witness with an incendiary fusion of forms, including prose poems, ghazals, sestinas, and sonnets. With poems impossible to turn away from, one of America’s most electrifying writers reveals what is frightening, and what is revelatory, about history. 

Winner, 2017 Los Angeles Times Book Prize 
Finalist, 2018 Pulitzer Prize for Poetry 
Winner, NAACP Image Award for Outstanding Literary Work in the Poetry category  
Winner, 2018 Kingsley Tufts Poetry Award 
Winner, 2018 BCALA Best Poetry Award 
Winner, Abel Meeropol Award for Social Justice 
Finalist, Neustadt International Prize for Literature 
Winner, 2021 Ruth Lilly Poetry Prize