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A compelling novel of slavery and colonialism

Is love color-blind, or at least becoming increasingly so? Today’s popular rhetoric and evidence of more interracial couples than ever might suggest that it is. But is it the idea of racially mixed relationships that we are growing to accept or is it the reality? What is the actual experience of individuals in these partnerships as they navigate their way through public spheres and intermingle in small, close-knit communities?

In Navigating Interracial Borders, Erica Chito Childs explores the social worlds of black-white interracial couples and examines the ways that collective attitudes shape private relationships. Drawing on personal accounts, in-depth interviews, focus group responses, and cultural analysis of media sources, she provides compelling evidence that sizable opposition still exists toward black-white unions. Disapproval is merely being expressed in more subtle, color-blind terms.

Childs reveals that frequently the same individuals who attest in surveys that they approve of interracial dating will also list various reasons why they and their families wouldn’t, shouldn’t, and couldn’t marry someone of another race. Even college students, who are heralded as racially tolerant and open-minded, do not view interracial couples as acceptable when those partnerships move beyond the point of casual dating. Popular films, Internet images, and pornography also continue to reinforce the idea that sexual relations between blacks and whites are deviant.

Well-researched, candidly written, and enriched with personal narratives, Navigating Interracial Borders offers important new insights into the still fraught racial hierarchies of contemporary society in the United States.

Necessarily Black is an ethnographic account of second-generation Cape Verdean youth identity in the United States and a theoretical attempt to broaden and complicate current discussions about race and racial identity in the twenty-first century. P. Khalil Saucier grapples with the performance, embodiment, and nuances of racialized identities (blackened bodies) in empirical contexts. He looks into the durability and (in)flexibility of race and racial discourse through an imbricated and multidimensional understanding of racial identity and racial positioning. In doing so, Saucier examines how Cape Verdean youth negotiate their identity within the popular fabrication of “multiracial America.” He also explores the ways in which racial blackness has come to be lived by Cape Verdean youth in everyday life and how racialization feeds back into the experience of these youth classified as black through a matrix of social and material settings. Saucier examines how ascriptions of blackness and forms of black popular culture inform subjectivities. The author also examines hip-hop culture to see how it is used as a site where new (and old) identities of being, becoming, and belonging are fashioned and reworked. Necessarily Black explores race and how Cape Verdean youth think and feel their identities into existence, while keeping in mind the dynamics and politics of racialization, mixed-race identities, and anti-blackness.

An analysis of the ideas of Booker T. Washington, Frederick Douglass, W. E. B. DuBois, and other black leaders from the turn of the century

Carl Degler’s 1971 Pulitzer-Prize-winning study of comparative slavery in Brazil and the United States is reissued in the Wisconsin paperback edition, making it accessible for all students of American and Latin American history and sociology.
    Until Degler’s groundbreaking work, scholars were puzzled by the differing courses of slavery and race relations in the two countries. Brazil never developed a system of rigid segregation, such as appeared in the United States, and blacks in Brazil were able to gain economically and retain far more of their African culture. Rejecting the theory of Giberto Freyre and Frank Tannenbaum—that Brazilian slavery was more humane—Degler instead points to a combination of demographic, economic, and cultural factors as the real reason for the differences.
   “In the early 1970s when studies in social history were beginning to blossom on the North American scene, Carl Degler’s prize-winning contribution was a thoughtful provocative essay in comparative history. Its thoughtfulness has not diminished with the years. Indeed, it is as topical today as when it was first published. The Brazilian experience with rapid industrialization and its attempt to restore democratic government indicates that the issues which Degler treated in the early 1970s are more pertinent than ever today.”—Franklin W. Knight, Department of History, Johns Hopkins University.

African Americans once passed as whites to escape the pains of racism. Today's neo-passing has pushed the old idea of passing in extraordinary new directions. A white author uses an Asian pen name; heterosexuals live "out" as gay; and, irony of ironies, whites try to pass as black. Mollie Godfrey and Vershawn Ashanti Young present essays that explore practices, performances, and texts of neo-passing in our supposedly postracial moment. The authors move from the postracial imagery of Angry Black White Boy and the issues of sexual orientation and race in ZZ Packer's short fiction to the politics of Dave Chappelle's skits as a black President George W. Bush. Together, the works reveal that the questions raised by neo-passing—questions about performing and contesting identity in relation to social norms—remain as relevant today as in the past. Contributors: Derek Adams, Christopher M. Brown, Martha J. Cutter, Marcia Alesan Dawkins, Michele Elam, Alisha Gaines, Jennifer Glaser, Allyson Hobbs, Brandon J. Manning, Loran Marsan, Lara Narcisi, Eden Osucha, Gayle Wald, and Deborah Elizabeth Whaley

New Day Begun presents the findings of the first major research project on black churches’ civic involvement since C. Eric Lincoln and Lawrence H. Mamiya’s landmark study The Black Church in the African American Experience. Since the passage of the 1964 Civil Rights Act and the 1965 Voting Rights Act, the scale and scope of African American churches’ civic involvement have changed significantly: the number of African American clergy serving in elective and appointive offices has noticeably increased, as have joint efforts by black churches and government agencies to implement policies and programs. Filling a vacuum in knowledge about these important developments, New Day Begun assesses the social, political, and ecclesiastical factors that have shaped black church responses to American civic and political life since the Civil Rights movement.

This collection of essays analyzes the results of an unprecedented survey of nearly 2,000 African American churches across the country conducted by The Public Influences of African-American Churches Project, which is based at Morehouse College in Atlanta. These essays—by political scientists, theologians, ethicists, and others—draw on the survey findings to analyze the social, historical, and institutional contexts of black church activism and to consider the theological and moral imperatives that have shaped black church approaches to civic life—including black civil religion and womanist and afrocentric critiques. They also look at a host of faith-based initiatives addressing economic development and the provision of social services. New Day Begun presents necessary new interpretations of how black churches have changed—and been changed by—contemporary American political culture.

Contributors. Lewis Baldwin, Allison Calhoun-Brown, David D. Daniels III, Walter Earl Fluker, C.R.D. Halisi, David Howard-Pitney, Michael Leo Owens, Samuel Roberts, David Ryden, Corwin Smidt, R. Drew Smith

The most comprehensive account available of the rise and fall of the Black Power Movement and of its dramatic transformation of both African-American and larger American culture. With a gift for storytelling and an ear for street talk, William Van Deburg chronicles a decade of deep change, from the armed struggles of the Black Panther party to the cultural nationalism of artists and writers creating a new aesthetic. Van Deburg contends that although its tactical gains were sometimes short-lived, the Black Power movement did succeed in making a revolution—one in culture and consciousness—that has changed the context of race in America.

"New Day in Babylon is an extremely intelligent synthesis, a densely textured evocation of one of American history's most revolutionary transformations in ethnic group consciousness."—Bob Blauner, New York Times

Winner of the Gustavus Myers Center Outstanding Book Award, 1993

New Orleans has long been a city fixated on its own history and culture. Founded in 1718 by the French, transferred to the Spanish in the 1763 Treaty of Paris, and sold to the United States in 1803, the city’s culture, law, architecture, food, music, and language share the influence of all three countries. This cultural mélange also manifests in the city’s approach to sport, where each game is steeped in the city’s history.

Tracing that history from the early nineteenth century to the present, while also surveying the state of the city’s sports historiography, New Orleans Sports places sport in the context of race relations, politics, and civic and business development to expand that historiography—currently dominated by a text that stops at 1900—into the twentieth century, offering a modern examination of sports in the city.

During the 1960s and 1970s, a cadre of poets, playwrights, visual artists, musicians, and other visionaries came together to create a renaissance in African American literature and art. This charged chapter in the history of African American culture—which came to be known as the Black Arts Movement—has remained largely neglected by subsequent generations of critics. New Thoughts on the Black Arts Movement includes essays that reexamine well-known figures such as Amiri Baraka, Larry Neal, Gwendolyn Brooks, Sonia Sanchez, Betye Saar, Jeff Donaldson, and Haki Madhubuti. In addition, the anthology expands the scope of the movement by offering essays that explore the racial and sexual politics of the era, links with other period cultural movements, the arts in prison, the role of Black colleges and universities, gender politics and the rise of feminism, color fetishism, photography, music, and more. An invigorating look at a movement that has long begged for reexamination, this collection lucidly interprets the complex debates that surround this tumultuous era and demonstrates that the celebration of this movement need not be separated from its critique.

Against all odds, the seeds of social change found purchase in mid-twentieth century South Carolina. Newspaperman John McCray and his allies at the Lighthouse and Informer challenged readers to "rebel and fight"--to reject the "slavery of thought and action" and become "progressive fighters" for equality. Newspaper Wars traces the role journalism played in the fight for civil rights in South Carolina from the 1930s through the 1960s. Moving the press to the center of the political action, Sid Bedingfield tells the stories of the long-overlooked men and women on the front lines of a revolution. African American progress sparked a battle to shape South Carolina's civic life, with civil rights activists arrayed against white journalists determined to preserve segregation through massive resistance. As that strategy failed, white newspapers turned to overt political action and crafted the still-prevalent narratives that aligned southern whites with the national conservative movement. A fascinating portrait of a defining time, Newspaper Wars analyzes the role journalism played--and still can play--during times of social, cultural, and political change.

First popularized by Ladysmith Black Mambazo and Paul Simon, the a cappella music known as isicathamiya has become internationally celebrated as one of South Africa's most vibrant and distinct performance traditions. But Ladysmith Black Mambazo is only one of hundreds of choirs that perform "nightsongs" during weekly all-night competitions in South Africa's cities.

Veit Erlmann provides the first comprehensive interpretation of isicathamiya performance practice and its relation to the culture and consciousness of the Zulu migrant laborers who largely compose its choirs. In songs and dances, the performers oppose the class and racial oppression that reduces them to "labor units." At the same time, Erlmann argues, the performers rework dominant images to symbolically reconstruct their "home," an imagined world of Zulu rural tradition and identity.

By contrasting the live performance of isicathamiya to its reproduction in mass media, recordings, and international concerts, Erlmann addresses important issues in performance studies and anthropology, and looks to the future of isicathamiya live performance in the new South Africa. Featuring an Introduction by Joseph Shabalala, the lead singer and founder of Ladysmith Black Mambazo, this book will be essential reading for anyone interested in the study of music, performance, popular culture, or South Africa.

In 1959, a Black man named Eldrewey Stearns was beaten by Houston police after being stopped for a traffic violation. He was not the first to suffer such brutality, but the incident sparked Stearns’s conscience and six months later he was leading the first sit-in west of the Mississippi River. No Color Is My Kind, first published in 1997, introduced readers to Stearns, including his work as a civil rights leader and lawyer in Houston’s desegregation movement between 1959 and 1963. This remarkable and important history, however, was nearly lost to bipolar affective disorder. Stearns was a fifty-two-year-old patient in a Galveston psychiatric hospital when Thomas Cole first met him in 1984. Over the course of a decade, Cole and Stearns slowly recovered the details of Stearns’s life before his slide into mental illness, writing a story that is more relevant today than ever.

In this new edition, Cole fills in the gaps between the late 1990s and now, providing an update on the progress of civil rights in Houston and Stearns himself. He also reflects on his tumultuous and often painful collaboration with Stearns, challenging readers to be part of his journey to understand the struggles of a Black man’s complex life. At once poignant, tragic, and emotionally charged, No Color Is My Kind is essential reading as the current movement for racial reconciliation gathers momentum.

No Color Is My Kind is an uncommon chronicle of identity, fate, and compassion as two men—one Jewish and one African American—set out to rediscover a life lost to manic depression and alcoholism. In 1984, Thomas Cole discovered Eldrewey Stearns in a Galveston psychiatric hospital. Stearns, a fifty-two-year-old black man, complained that although he felt very important, no one understood him. Over the course of the next decade, Cole and Stearns, in a tumultuous and often painful collaboration, recovered Stearns’ life before his slide into madness—as a young boy in Galveston and San Augustine and as a civil rights leader and lawyer who sparked Houston’s desegregation movement between 1959 and 1963. While other southern cities rocked with violence, Houston integrated its public accommodations peacefully. In these pages appear figures such as Thurgood Marshall, Martin Luther King, Jr., Leon Jaworski, and Dan Rather, all of whom—along with Stearns—maneuvered and conspired to integrate the city quickly and calmly. Weaving the tragic story of a charismatic and deeply troubled leader into the record of a major historic event, Cole also explores his emotionally charged collaboration with Stearns. Their poignant relationship sheds powerful and healing light on contemporary race relations in America, and especially on issues of power, authority, and mental illness.

The “invisible men” of sociologist Adia Harvey Wingfield’s urgent and timely No More Invisible Man are African American professionals who fall between extremely high status, high-profile black men and the urban underclass. Her compelling interview study considers middle-class, professional black men and the challenges, obstacles, and opportunities they encounter in white male–dominated occupations.

No More Invisible Man chronicles these men’s experiences as a tokenized minority in the workplace to show how issues of power and inequality exist—especially as they relate to promotion, mobility, and developing occupational networks. Wingfield’s intersectional analysis deftly charts the ways that gender, race, and class collectively shape black professional men’s work experiences.

In its examination of men’s interactions with women and other men, as well as men’s performances of masculinity and their emotional demeanors in these jobs, No More Invisible Man extends our understanding of racial- and gender-based dynamics in professional work.

The follow-up to the groundbreaking Black Queer Studies, the edited collection No Tea, No Shade brings together nineteen essays from the next generation of scholars, activists, and community leaders doing work on black gender and sexuality. Building on the foundations laid by the earlier volume, this collection's contributors speak new truths about the black queer experience while exemplifying the codification of black queer studies as a rigorous and important field of study. Topics include "raw" sex, pornography, the carceral state, gentrification, gender nonconformity, social media, the relationship between black feminist studies and black trans studies, the black queer experience throughout the black diaspora, and queer music, film, dance, and theater. The contributors both disprove naysayers who believed black queer studies to be a passing trend and respond to critiques of the field's early U.S. bias. Deferring to the past while pointing to the future, No Tea, No Shade pushes black queer studies in new and exciting directions.

In 2005 Waverly Duck was called to a town he calls Bristol Hill to serve as an expert witness in the sentencing of drug dealer Jonathan Wilson. Convicted as an accessory to the murder of a federal witness and that of a fellow drug dealer, Jonathan faced the death penalty, and Duck was there to provide evidence that the environment in which Jonathan had grown up mitigated the seriousness of his alleged crimes. Duck’s exploration led him to Jonathan’s church, his elementary, middle, and high schools, the juvenile facility where he had previously been incarcerated, his family and friends, other drug dealers, and residents who knew him or knew of him. After extensive ethnographic observations, Duck found himself seriously troubled and uncertain: Are Jonathan and others like him a danger to society? Or is it the converse—is society a danger to them?

Duck’s short stay in Bristol Hill quickly transformed into a long-term study—one that forms the core of No Way Out. This landmark book challenges the common misconception of urban ghettoes as chaotic places where drug dealing, street crime, and random violence make daily life dangerous for their residents. Through close observations of daily life in these neighborhoods, Duck shows how the prevailing social order ensures that residents can go about their lives in relative safety, despite the risks that are embedded in living amid the drug trade. In a neighborhood plagued by failing schools, chronic unemployment, punitive law enforcement, and high rates of incarceration, residents are knit together by long-term ties of kinship and friendship, and they base their actions on a profound sense of community fairness and accountability. Duck presents powerful case studies of individuals whose difficulties flow not from their values, or a lack thereof, but rather from the multiple obstacles they encounter on a daily basis.

No Way Out explores how ordinary people make sense of their lives within severe constraints and how they choose among unrewarding prospects, rather than freely acting upon their own values. What emerges is an important and revelatory new perspective on the culture of the urban poor.

Since the early 2000s, the phenomenon of the “down low”—black men who have sex with men as well as women and do not identify as gay, queer, or bisexual—has exploded in news media and popular culture, from the Oprah Winfrey Show to R & B singer R. Kelly’s hip hopera Trapped in the Closet. Most down-low stories are morality tales in which black men are either predators who risk infecting their unsuspecting female partners with HIV or victims of a pathological black culture that repudiates openly gay identities. In both cases, down-low narratives depict black men as sexually dangerous, duplicitous, promiscuous, and contaminated.

In Nobody Is Supposed to Know, C. Riley Snorton traces the emergence and circulation of the down low in contemporary media and popular culture to show how these portrayals reinforce troubling perceptions of black sexuality. Reworking Eve Sedgwick’s notion of the “glass closet,” Snorton advances a new theory of such representations in which black sexuality is marked by hypervisibility and confinement, spectacle and speculation. Through close readings of news, music, movies, television, and gossip blogs, Nobody Is Supposed to Know explores the contemporary genealogy, meaning, and functions of the down low.

Snorton examines how the down low links blackness and queerness in the popular imagination and how the down low is just one example of how media and popular culture surveil and police black sexuality. Looking at figures such as Ma Rainey, Bishop Eddie L. Long, J. L. King, and Will Smith, he ultimately contends that down-low narratives reveal the limits of current understandings of black sexuality.

It passes for an unassailable truth that the slave past provides an explanatory prism for understanding the black political present. In None Like Us Stephen Best reappraises what he calls “melancholy historicism”—a kind of crime scene investigation in which the forensic imagination is directed toward the recovery of a “we” at the point of “our” violent origin. Best argues that there is and can be no “we” following from such a time and place, that black identity is constituted in and through negation, taking inspiration from David Walker’s prayer that “none like us may ever live again until time shall be no more.” Best draws out the connections between a sense of impossible black sociality and strains of negativity that have operated under the sign of queer. In None Like Us the art of El Anatsui and Mark Bradford, the literature of Toni Morrison and Gwendolyn Brooks, even rumors in the archive, evidence an apocalyptic aesthetics, or self-eclipse, which opens the circuits between past and present and thus charts a queer future for black study.

For all the talk about a new postracial America, the fundamental realities of American racism—and the problems facing black political movements—have not changed. Michael C. Dawson lays out a nuanced analysis of the persistence of racial inequality and structural disadvantages, and the ways that whites and blacks continue to see the same problems—the disastrous response to Katrina being a prime example—through completely different, race-inflected lenses. In fact, argues Dawson, the new era heralded by Barack Obama’s election is more racially complicated, as the widening class gap among African Americans and the hot-button issue of immigration have the potential to create new fissures for conservative and race-based exploitation. Through a thoughtful analysis of the rise of the Tea Party and the largely successful “blackening” of President Obama, Dawson ultimately argues that black politics remains weak—and that achieving the dream of racial and economic equality will require the sort of coalition-building and reaching across racial divides that have always marked successful political movements.

Polemical but astute, passionate but pragmatic, Not in Our Lifetimes forces us to rethink easy assumptions about racial progress—and begin the hard work of creating real, lasting change.
 
 

In Now Is the Time! Todd C. Shaw delves into the political strategies of post–Civil Rights Movement African American activists in Detroit, Michigan, to discover the conditions for effective social activism. Analyzing a wide range of grassroots community-housing initiatives intended to revitalize Detroit’s failing urban center and aid its impoverished population, he investigates why certain collective actions have far-reaching effects while others fail to yield positive results. What emerges is EBAM (Effective Black Activism Model), Shaw’s detailed political model that illuminates crucial elements of successful grassroots activism, such as strong alliances, strategic advantages, and adaptive techniques.

Shaw uses the tools of social movement analysis, including the quantitative analysis of budgets, electoral data, and housing statistics, as well as historical research and personal interviews, to better understand the dilemmas, innovations, and dynamics of grassroots activism. He begins with a history of discriminatory housing practices and racial divisions that deeply affected Detroit following the Second World War and set the stage for the election of the city’s first black mayor, Coleman Young. By emphasizing downtown redevelopment, Mayor Young’s administration often collided with low-income housing advocates. Only through grassroots activism were those advocates able to delay or derail governmental efforts to demolish low-income housing in order to make way for more upscale development. Shaw then looks at present-day public housing activism, assessing the mixed success of the nationally sponsored HOPE VI project aimed at fostering home ownership in low-income areas. Descriptive and prescriptive, Now Is the Time! traces the complicated legacy of community activism to illuminate what is required for grassroots activists to be effective in demanding public accountability to poor and marginalized citizens.