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“The problem of the twentieth century is the problem of the color line.” These were the prescient words of W. E. B. Du Bois’s influential 1903 book The Souls of Black Folk. The preeminent Black intellectual of his generation, Du Bois wrote about the trauma of seeing the Reconstruction era’s promise of racial equality cruelly dashed by the rise of white supremacist terror and Jim Crow laws. Yet he also argued for the value of African American cultural traditions and provided inspiration for countless civil rights leaders who followed him. Now artist Paul Peart-Smith offers the first graphic adaptation of Du Bois’s seminal work.
 
Peart-Smith’s graphic adaptation provides historical and cultural contexts that bring to life the world behind Du Bois’s words. Readers will get a deeper understanding of the cultural debates The Souls of Black Folk engaged in, with more background on figures like Booker T. Washington, the advocate of black economic uplift, and the Pan-Africanist minister Alexander Crummell. This beautifully illustrated book vividly conveys the continuing legacy of The Souls of Black Folk, effectively updating it for the era of the 1619 Project and Black Lives Matter.
 

Winner of the John H. Dunning Prize in United States History

During the nineteenth century, American and foreign travelers often found New Orleans a delightful, exotic stop on their journeys. Few failed to marvel at the riverfront, the center of the city's economic activity. But historical memory overlooks the immigrants and Black migrants who served in the riverfront's army of laborers and provided the essential human power that kept the cotton, sugar, and other goods flowing. Eric Arnesen examines the diverse group of 10,000 to 15,000 cotton screwmen, longshoremen, cotton and round freight teamsters, cotton yardmen, railroad freight handlers, and Mississippi River roustabouts that formed the backbone of the Crescent City's trade and economic life.

Michigan poet laureate Melba Joyce Boyd’s tenth poetry collection, We See We, is a deeply emplaced volume, grounded in Boyd’s hometown of Detroit. The book takes its title from a poem in the collection dedicated to the late photographer, photojournalist, and filmmaker Hugh Grannum, who trained his camera on Black Detroit. Boyd takes a similar approach in this volume, collecting poems “about seeing our collective selves within our interconnected individual lives.” Divided into two sections—Inflexions and Elegies—the poems evoke Detroit’s past and present through works about Romare Bearden at the Detroit Institute of Arts, Idlewild, the 1967 Detroit Rebellion, Aretha Franklin, John Sinclair, and the varied lives of people Boyd knew and loved who demonstrate that you do not have to be famous to have historical impact. As former Michigan poet laureate Nandi Comer writes in the interview that concludes the volume, the poems in this collection are “filled with artists, friends, elders, and collaborators,” making the poems in the collection into “an education in Detroit’s artistic life.”

A poignant resource for helping children and families through the loss of a sibling

Salome was going to be a big sister. Her brother, Gerald, told her so. They watched Mama’s tummy grow rounder and rounder, and their excitement grew, too. But then Mama went to the hospital, and she came home without a baby. The smiles stopped, and the house grew quiet except for Mama’s tears.

“Where is my sister?” Salome asks. Mama gathers her and Gerald onto her lap and tells them that baby Toni is in the cemetery, but she’ll always be their sister. Gerald says that she’s in the spirit world. Salome looks for her all over. Is Toni’s spirit in Mama’s tears? Is she in the family’s stories about her? Is she between Salome and her brother at the dinner table, or beside Salome’s favorite tree in the backyard? As her family begins to find peace, Salome understands something important: “My sister is everywhere.”

In Where Is My Sister? Shannon Gibney’s poetic voice captures the heartbreak of losing an infant and the love that joins family members together. Huy Voun Lee’s tender illustrations guide readers with quiet grace, honoring all those who passed from this world too soon. A resource for children and the parents, teachers, and community members who care for them, this book offers a powerful reflection for those who often feel alone during the painful and transformative experience of infant and sibling loss.

When Where the Wild Grape Grows was published in 2005 by the University of Massachusetts Press, it was the first book-length critical study of Dorothy West. Since then, the publication of more volumes on West and her circle testify to popular and academic interest in under-represented artists of the Harlem Renaissance, many of whom appeared first in West’s literary magazine, Challenge (1934-1937). Challenge included poems by West’s cousin Helene Johnson as well as by her friends Lucia Mae Pitts, Waring Cuney, Pauli Murray, Grace Walker, Mae Cowdery, Marcia Prendergast, and Bessie Calhoun Bird. West also published work by her romantic partner Marian Minus and by Juanita DeShields (the first Black Canadian graduate of McGill University) and the Trinidadian author Alfred Mendes. She included artwork by Mildred Jones and journalism by Eslanda Robeson and Dorothy Peterson. In addition to her editorial activities, West corresponded with important African American musicians including Maud Cuney Hare, Alberta Hunter, and Henry T. Burleigh, and with sculptors Augusta Savage and Richmond Barthé. Just as West mentored others, she was encouraged by such academic luminaries as Columbia Professors Blanche Colton Williams and Dorothy Scarborough, and by the controversial novelist Erskine Caldwell.

The new Introduction to Wild Grape will include fresh research on these individuals, many of whom formed part of West’s social and artistic circle. Lucia Pitts, for example, was a poet who served in the famous WAC (Women’s Army Corps) 6888th Battalion. The work of Marian Minus and Mae Cowdery has received critical attention recently and they also merit closer investigation. The Boston writer and musicologist Maud Cuney Hare was an artistic mentor to West; her cousin Waring Cuney was a close friend: both will receive more attention in the paperback edition. The artist Mildred Jones accompanied West and twenty other young African Americans to Russia in 1932 as participants in an ultimately aborted propaganda film on race relations in America; Jones studied with the important Russian Modernist painter Aleksandr Deyneka.

The original edition of Wild Grape cites two stories about West’s Russian experiences (penned under the pseudonym Mary Christopher in 1934), “Room in Red Square” and “Russian Correspondence,” but the volume does not include the actual stories. The stories are interesting because they shed light on West’s unrequited romance with Langston Hughes and her relationships with other members of the group, and they offer a unique perspective on daily life in the U.S.S.R. Both stories will be published in the new edition, along with a detailed discussion of new research about West’s visit to Russia.

A third uncollected story, “Cook” (1934), written by West under the pseudonym Jane Isaac will also be included. This story is extremely important to West’s oeuvre and her artistic development; it includes characters, themes, tropes, and plot lines that she expanded and developed in her two novels, The Living Is Easy (1948) and The Wedding (1995).

Since 2005, new material has been added to the West archive in Harvard’s Schlesinger Library. The section of Wild Grape devoted to West’s correspondence will include additional unpublished letters which underscore West’s dedication to African American art and culture.

The book includes the Benson-West family tree in Appendix II. Several scholars have expressed appreciation for this information which has not been published elsewhere; the chart will be updated to include the birth of several of West’s descendants.

When Where the Wild Grape Grows was published in 2005 by the University of Massachusetts Press, it was the first book-length critical study of Dorothy West. Since then, the publication of more volumes on West and her circle testify to popular and academic interest in under-represented artists of the Harlem Renaissance, many of whom appeared first in West’s literary magazine, Challenge (1934-1937). Challenge included poems by West’s cousin Helene Johnson as well as by her friends Lucia Mae Pitts, Waring Cuney, Pauli Murray, Grace Walker, Mae Cowdery, Marcia Prendergast, and Bessie Calhoun Bird. West also published work by her romantic partner Marian Minus and by Juanita DeShields (the first Black Canadian graduate of McGill University) and the Trinidadian author Alfred Mendes. She included artwork by Mildred Jones and journalism by Eslanda Robeson and Dorothy Peterson. In addition to her editorial activities, West corresponded with important African American musicians including Maud Cuney Hare, Alberta Hunter, and Henry T. Burleigh, and with sculptors Augusta Savage and Richmond Barthé. Just as West mentored others, she was encouraged by such academic luminaries as Columbia Professors Blanche Colton Williams and Dorothy Scarborough, and by the controversial novelist Erskine Caldwell.

The new Introduction to Wild Grape will include fresh research on these individuals, many of whom formed part of West’s social and artistic circle. Lucia Pitts, for example, was a poet who served in the famous WAC (Women’s Army Corps) 6888th Battalion. The work of Marian Minus and Mae Cowdery has received critical attention recently and they also merit closer investigation. The Boston writer and musicologist Maud Cuney Hare was an artistic mentor to West; her cousin Waring Cuney was a close friend: both will receive more attention in the paperback edition. The artist Mildred Jones accompanied West and twenty other young African Americans to Russia in 1932 as participants in an ultimately aborted propaganda film on race relations in America; Jones studied with the important Russian Modernist painter Aleksandr Deyneka.

The original edition of Wild Grape cites two stories about West’s Russian experiences (penned under the pseudonym Mary Christopher in 1934), “Room in Red Square” and “Russian Correspondence,” but the volume does not include the actual stories. The stories are interesting because they shed light on West’s unrequited romance with Langston Hughes and her relationships with other members of the group, and they offer a unique perspective on daily life in the U.S.S.R. Both stories will be published in the new edition, along with a detailed discussion of new research about West’s visit to Russia.

A third uncollected story, “Cook” (1934), written by West under the pseudonym Jane Isaac will also be included. This story is extremely important to West’s oeuvre and her artistic development; it includes characters, themes, tropes, and plot lines that she expanded and developed in her two novels, The Living Is Easy (1948) and The Wedding (1995).

Since 2005, new material has been added to the West archive in Harvard’s Schlesinger Library. The section of Wild Grape devoted to West’s correspondence will include additional unpublished letters which underscore West’s dedication to African American art and culture.

The book includes the Benson-West family tree in Appendix II. Several scholars have expressed appreciation for this information which has not been published elsewhere; the chart will be updated to include the birth of several of West’s descendants.

We are taught that America is a society based on respect for the law and orderly procedures. That the Constitution stands as a safeguard of individual freedom, and the courts and the police are supposedly established to enforce the law. When a controversial issue arises in the American fabric, it is to be resolved not in the streets but through the democratic processes of elections. Yet, for blacks these liberal values have been turned into their opposites. The courts have most often stood silent in the face of racist violence or have turned their wrath against the victims, not the perpetrators; the police have protected the mob rather than the mobbed and have often either aided the lynchers or displayed amazing inability to identify them. Where race is concerned, legislative or judicial action to deal with controversial issues has often come late and been partial in nature, while white violence has continued to terrorize black Americans without hindrance.

In White Violence and Black Response: From Reconstruction to Montgomery, Herbert Shapiro explores the depths of violence generated by white racism and the irony of the American association with violence as a behavior of black people. Citing the nation's political leadership, educational institutions, and news media as institutions that fail to educate Americans about the oppressive social conditions that have root in these criminal acts, Shapiro is able to expose the ways in which white supremacy operates within American institutions and the responses by black people in this powerful read.

Woman's Legacy: Essays on Race, Sex, and Class in American History is a groundbreaking collection of essays by prominent feminist scholar and historian Bettina Aptheker. Emerging from her dissertation research, this work examines the interconnected systems of racial, sexual, and class oppression that have shaped the experiences of women in American history. Through careful historical analysis and feminist scholarship, Aptheker explores how race, sex, and class work together to form complex systems of domination and resistance in the American historical context. The essays investigate women's community roles, activism, and agency while centering the lived experiences of women, particularly Black women, across different historical periods. This seminal work contributes to African American women's history and feminist historiography, bridging women's studies with critical analysis of historical structures and social movements. An essential text for those interested in intersectional approaches to American history and women's studies.

Why have some working women succeeded at organizing in spite of obstacles to labor activity? Under what circumstances were they able to form alliances with male workers? 

Carole Turbin explores these and other questions by examining the case of Troy, New York. In the 1860s, Troy produced nearly all the nation's detachable shirt collars and cuffs. The city's collar laundresses were largely Irish immigrants. Their union was officially the nation's first women's labor organization, and one of the best organized. Turbin provides a new perspective on gender and shows that women's family ties are not necessarily a conservative influence but may encourage women's and men's collective action.

Among the signal achievements of African American culture is the style of music known as the blues, an art form evolved from southern black songs of the late nineteenth century. From the field hollers and steel-bodied guitar of its early days to the electric amplification of today's performers, the visceral power of the blues has long been celebrated for its creativity, spontaneity, and ingenuity. It has served as a wellspring for other forms of music, including gospel, jazz, rhythm and blues, soul, rock, and rap, and has exerted an influence on literature and the visual arts as well. 

This book brings together some of the most significant writings about the blues published between 1911 and 1998. Included are selections by folklorists, anthropologists, sociologists, literary artists, musicians, critics, and aficionados. The extraordinary appeal of the blues is reflected in the range of contributors to this volume, among them Howard W. Odum, Alan Lomax, Richard Alan Waterman, Langston Hughes, Paul Oliver, Sam Charters, Janheinz Jahn, James Baldwin, Leroi Jones, Charles Keil, Jeff Todd Titon, Houston Baker, Hazel Carby, and Angela Davis. From these various perspectives emerges a new understanding of the blues: its origins in African aesthetics; the impact of slavery and Reconstruction; its early folk manifestations; and the importance of religion, style, gender, audience, protest, and the record business in its development as an art form. Further context is provided by a comprehensive introduction, section overviews, and an extensive bibliography, discography, and videography of blues materials.

Between 1967 and 1972, a previously obscure group of authors entered the US cultural spotlight. During this five-year period, at least thirty anthologies of poetry and prose by African American, Latinx, Asian American, and Native American children came out of adult-led workshops, classrooms, and sites of juvenile incarceration. Mass-market publishers, independent imprinters, and local mimeograph machines produced volumes with titles such as I Am Somebody! and The Me Nobody Knows: Children’s Voices from the Ghetto. These young writers actively participated in the Black Arts Movement, and some collaborated with well-known adult authors, most prominently June Jordan. Their anthologies gained national media coverage, occasionally became bestsellers, were quoted by James Baldwin, and even inspired a hit Broadway musical. While writings by children had long attracted adult attention, this flurry of youth writing and publishing was distinguished by the widespread belief that children of color from poor and working-class neighborhoods were uniquely able to speak truth about American racism and inequality.

Focusing on Black and Latinx youth authorship within New York City, and using deep archival research and elegant close readings, Amy Fish examines child-authored texts of this era within the context of their literary production and reception. These young writers were often supervised and edited by white adults, raising concerns about the authenticity and agency of their voices. Fish contends that young authors themselves shared these concerns and that they employed savvy rhetorical strategies of address, temporality, and trope to self-consciously interrogate the perils and possibilities of their adult-influenced work. Young writers thus contributed to the era’s important debates about the nature of authorship and readership within a racist society, while also using their writing as an intimate occasion of self-discovery.