African-american

From postwar efforts to end discrimination in the motion-picture industry, recording studios, and musicians’ unions, through the development of community-based arts organizations, to the creation of searing films critiquing conditions in the black working class neighborhoods of a city touting its multiculturalism—Black Arts West documents the social and political significance of African American arts activity in Los Angeles between the Second World War and the riots of 1992. Focusing on the lives and work of black writers, visual artists, musicians, and filmmakers, Daniel Widener tells how black cultural politics changed over time, and how altered political realities generated new forms of artistic and cultural expression. His narrative is filled with figures invested in the politics of black art and culture in postwar Los Angeles, including not only African American artists but also black nationalists, affluent liberal whites, elected officials, and federal bureaucrats.

Along with the politicization of black culture, Widener explores the rise of a distinctive regional Black Arts Movement. Originating in the efforts of wartime cultural activists, the movement was rooted in the black working class and characterized by struggles for artistic autonomy and improved living and working conditions for local black artists. As new ideas concerning art, racial identity, and the institutional position of African American artists emerged, dozens of new collectives appeared, from the Watts Writers Workshop, to the Inner City Cultural Center, to the New Art Jazz Ensemble. Spread across generations of artists, the Black Arts Movement in Southern California was more than the artistic affiliate of the local civil-rights or black-power efforts: it was a social movement itself. Illuminating the fundamental connections between expressive culture and political struggle, Black Arts West is a major contribution to the histories of Los Angeles, black radicalism, and avant-garde art.

"City Kid is perhaps one of the seven greatest books ever written. It has the realness of The Autobiography of Malcolm X, the warmth of The Color Purple, and the page count of Tuesdays with Morrie. It's a must read."-Chris Rock

Nelson George was the nerd of his ghetto neighborhood; the kid who devoured Captain America comics, Ernest Hemingway novels, and album liner notes. City Kid describes how George evolved into an award-winning journalist and filmmaker, becoming a key figure in framing hip hop for the rest of us. The story begins with a fractured family life-an absent father, a struggling single mother, and a sister who falls victim to the streets-but ends in triumph all around.

George overcomes both his own nerdiness, as well as the odds against him, to become a godfather of the hip hop movement-he was there at the beginning, and in City Kid he tells us what it was really like.

Writing with emotion, but without false sentiment, George creates an insightful and inspirational portrait of an emerging success, as well as the triumphant rise of hip hop culture and black artists in the 80s and 90s.

In this series of interlocking essays, which had their start as lectures inspired by the presidency of Barack Obama, Robert Burns Stepto sets canonical works of African American literature in conversation with Obama’s Dreams from My Father. The elegant readings that result shed surprising light on unexamined angles of works ranging from Frederick Douglass’s Narrative to W. E. B. Du Bois’s Souls of Black Folk to Toni Morrison’s Song of Solomon.

Stepto draws our attention to the concerns that recur in the books he takes up: how protagonists raise themselves, often without one or both parents; how black boys invent black manhood, often with no models before them; how protagonists seek and find a home elsewhere; and how they create personalities that can deal with the pain of abandonment. These are age-old themes in African American literature that, Stepto shows, gain a special poignancy and importance because our president has lived through these situations and circumstances and has written about them in a way that refreshes our understanding of the whole of African American literature.

Stepto amplifies these themes in four additional essays, which investigate Douglass’s correspondence with Harriet Beecher Stowe; Willard Savoy’s novel Alien Land and its interracial protagonist; the writer’s understanding of the reader in African American literature; and Stepto’s account of his own schoolhouse lessons, with their echoes of Douglass’ and Obama’s experiences.

At a time when popular solutions to the educational plight of poor children of color are imposed from the outside-national standards, high-stakes tests, charismatic individual saviors-the acclaimed Algebra Project and its founder, Robert Moses, offer a vision of school reform based in the power of communities.

Begun in 1982, the Algebra Project is transforming math education in twenty-five cities. Founded on the belief that math-science literacy is a prerequisite for full citizenship in society, the Project works with entire communities-parents, teachers, and especially students-to create a culture of literacy around algebra, a crucial stepping-stone to college math and opportunity.

Telling the story of this remarkable program, Robert Moses draws on lessons from the 1960s Southern voter registration he famously helped organize: "Everyone said sharecroppers didn't want to vote. It wasn't until we got them demanding to vote that we got attention. Today, when kids are falling wholesale through the cracks, people say they don't want to learn. We have to get the kids themselves to demand what everyone says they don't want."

We see the Algebra Project organizing community by community. Older kids serve as coaches for younger students and build a self-sustained tradition of leadership. Teachers use innovative techniques. And we see the remarkable success stories of schools like the predominately poor Hart School in Bessemer, Alabama, which outscored the city's middle-class flagship school in just three years.

Radical Equations provides a model for anyone looking for a community-based solution to the problems of our disadvantaged schools.

Challenging the conception of empowerment associated with the Black Power Movement and its political and intellectual legacies in the present, Darieck Scott contends that power can be found not only in martial resistance, but, surprisingly, where the black body has been inflicted with harm or humiliation.

Theorizing the relation between blackness and abjection by foregrounding often neglected depictions of the sexual exploitation and humiliation of men in works by James Weldon Johnson, Toni Morrison, Amiri Baraka, and Samuel R. Delany, Extravagant Abjection asks: If we're racialized through domination and abjection, what is the political, personal, and psychological potential in racialization-through-abjection? Using the figure of male rape as a lens through which to examine this question, Scott argues that blackness in relation to abjection endows its inheritors with a form of counter-intuitive power—indeed, what can be thought of as a revised notion of black power. This power is found at the point at which ego, identity, body, race, and nation seem to reveal themselves as utterly penetrated and compromised, without defensible boundary. Yet in Extravagant Abjection, “power” assumes an unexpected and paradoxical form.

In arguing that blackness endows its inheritors with a surprising form of counter-intuitive power—as a resource for the political present—found at the very point of violation, Extravagant Abjection enriches our understanding of the construction of black male identity.

In this incisive and unflinching study, Randall Kennedy, author of Nigger: The Strange Career of a Troublesome Word, tackles another stigma of America's racial discourse: “selling out.” He explains the origins of the concept and shows how fear of this label has haunted prominent members of the black community—including, most recently, Colin Powell, Condoleezza Rice, and Barack Obama. Sellout also contains a rigorously fair case study of America's quintessential racial “sellout”—Supreme Court Justice Clarence Thomas. In the book's final section, Kennedy recounts how he himself has dealt with accusations of being a sellout after meeting fierce criticism at Harvard upon the publication of his book, Nigger.

When award-winning educator and activist Geoff Canada was growing up in the Bronx, the "sidewalk" boys learned the codes of the block from their elders and were ranked--and to some degree protected--through the rituals of fist, stick, and knife. Weaving in and out of his stark storytelling is a cogent anaylsis of how the complicity of gun manufacturers turned this contained violence into today's world of drive-by shootings and automatic weapons.

A Teacher's Guide for this book is available.

"The vignettes band together with a kind of clarifying momentum, so that the result is something more. . . . A beacon."


--New York Times Book Review
"A more powerful depiction of the tragic life of urban children and a more compelling plea to end' America's war against itself' cannot be imagined.


--Publishers Weekly
"Geoff Canada has been cultivating virtue, and hope, in children for the past 10 years."


--Newsweek
"A slim, revealing volume that should be required reading for anyone who was ever a child, for anyone who has ever negotiated the complicated hierarchy of 'rep' and revenge on city streets."


--Boston Globe
"Part memoir, part social treatise, a wholly sobering view of inner-city violence and the codes surrounding it."


--Kirkus Reviews