Futuring Black Lives is a historical ethnography examining Black institution builders in the late 1960s and early 1970s and their work to leverage the power of publications and the literary imagination to engage “concerned men and women” in conversations about the educational journeys and futures of Black children. While many began as reactions to anti-Blackness and American public schooling failing Black children, Independent Black Institutions (IBIs) came to be viable ecosystems anchored in a shared Black value system preparing Black children in three areas: identity, purpose, and direction.

The rationale for establishing and valuing IBIs remains highly relevant, given the sociopolitical landscape of education today. In addition to persistent racial disparities in academic achievement and Black students’ highly disproportionate experiences of punishment and “discipline,” friction and legislation against critical examination of race, racism, and racist ideas in school settings are front and center, and children’s and young adult literature are under attack through censorship and outright book bans. Yet Black institution builders left useful maps of and for the educational future/s of Black children that remain available in journals, newspapers, pamphlets, and other ephemera. Author Maisha T. Winn demonstrates how and why the historiography-grounded futuring of Black education can and should inform current pursuits of equity, justice, and liberation through education.

The Responsibility of Intellectuals in the Age of Fascism and Genocide is Boston Review’s 50th anniversary issue. This milestone issue features many of our longtime contributors, including Robin D. G. Kelley, Vivian Gornick, and Elaine Scarry, and celebrates classics from our archive.  In this issue, historian and Boston Review contributing editor Robin D. G. Kelley revisits Noam Chomsky’s landmark 1967 essay, “The Responsibility of Intellectuals,” published near the height of the Vietnam War. The essay’s dissident injunction―that those in privileged positions have a duty to “speak the truth and expose lies”―remains a powerful call to conscience, Kelley argues, but the anti-fascist and anti-colonial struggles of even earlier decades reveal its limits, and they show how to refuse and resist complicity in our own age of fascism and genocide. Political philosopher Martin O’Neill, Palestinian human rights lawyer Jennifer Zacharia, and historian David Waldstreicher expand on what this moment requires―of intellectuals, of journalists, and of us all.

Also in the issue, Vivian Gornick reviews Shulamith Firestone’s Airless Spaces, Elaine Scarry challenges the wisdom that Plato banished the poets, Brandon M. Terry interviews political scientist Cathy Cohen about social movements and the future of Black politics, Joelle M. Abi-Rached exposes the contradictions of the liberal international order over Gaza, Samuel Hayim Brody reviews three memoirs on the Arab Jewish world destroyed by colonialism, David Austin Walsh explains what Zohran Mamdani’s triumph means for the future of the Democratic Party, and Sandeep Vaheesan looks to the New Deal to assess the “abundance” agenda.

Plus, seven writers reflect on notable essays from our archive in a special anniversary feature:

* Susan Faludi on Vivian Gornick and anti-feminism
* Naomi Klein on William Callison + Quinn Slobodian and the global right
* Jay Caspian Kang on Olúfẹ́mi O. Táíwò and identity politics
* Ryu Spaeth on Merve Emre and the personal essay
* Lea Ypi on Joseph Carens and amnesty
* Nathan J. Robinson on Noam Chomsky and U.S. foreign policy
* Rick Perlstein on Elaine Scarry and democracy after 9/11

A founding document of African American Studies, reissued for today’s students and scholars
 
In a landmark 1968 conference at Yale University, students, faculty, and community activists helped establish “Afro‑American Studies” as a major, and then a thriving department, at Yale. In these conference proceedings, participants argue for the necessity of Black Studies as a field, start to delineate its central debates, discuss its relationship to the broader community, and plot a course of study. Bristling with implied action and the power of an idea whose time has come, this classic reissue will serve as a resource for new generations of scholars and activists.
  
Contributors to the proceedings include McGeorge Bundy, Lawrence W. Chisolm, Harold Cruse, David Brion Davis, Nathan Hare, Maulana Ron Karenga, Martin Kilson, Jr., Gerald A. McWorter, Sidney W. Mintz, Boniface Obichere, Alvin Poussaint, Edwin S. Redkey, Charles H. Taylor, Jr., and Robert Farris Thompson.
 
In a new introduction, Farah Jasmine Griffin reflects on the legacy of this book and the trajectory of the field over the decades; forewords by Ralph C. Dawson and Henry Louis Gates, Jr., recall the pioneering moment at Yale and all that it made possible.

Beyond Man reimagines the meaning and potential of a philosophy of religion that better attends to the inextricable links among religion, racism, and colonialism. An Yountae, Eleanor Craig, and the contributors reckon with the colonial and racial implications of the field's history by staging a conversation with Black, Indigenous, and decolonial studies. In their introduction, An and Craig point out that European-descended Christianity has historically defined itself by its relation to the other while paradoxically claiming to represent and speak to humanity in its totality. The topics include secularism, the Eucharist's relation to Blackness, and sixteenth-century Brazilian cannibalism rituals as well as an analysis of how Mircea Eliade's conception of the sacred underwrites settler colonial projects and imaginaries. Throughout, the contributors also highlight the theorizing of Afro-Caribbean thinkers such as Sylvia Wynter, C. L. R. James, Frantz Fanon, and Aimé Césaire whose work disrupts the normative Western categories of religion and philosophy.

Contributors. An Yountae, Ellen Armour, J. Kameron Carter, Eleanor Craig, Amy Hollywood, Vincent Lloyd, Filipe Maia, Mayra Rivera, Devin Singh, Joseph R. Winters

How Black women’s visual work functions in an era of new racial and gender meaning

In the wake of contemporary art’s post-Black turn and the mainstreaming of intersectionality, Undesirability and Her Sisters charts a new genealogy of Black women’s art that exposes the unfinished project of racial and gender empowerment in the twenty-first century. Tiffany Barber argues that Black women’s social positions at the intersection of race, gender, sexuality, and class are inherently queer, thus spurring unexpected aesthetic strategies that throw into high relief the ethical terrain of what it means to be Black and a woman now.

Undesirability and Her Sisters collates what Barber terms “undesirable” representations of Black female bodies in recent American sculpture, collage, photography, and dance-based performance art by Kara Walker, Wangechi Mutu, Xaviera Simmons, and Narcissister. These works not only engage the visual senses but also incorporate olfactory, haptic, and sonic experiences that challenge traditional interpretations of Blackness and womanhood in art history, Black Studies, feminist and gender studies, dance and performance studies, and queer studies. Instead of transcendental beauty, wholeness, and individual and collective becoming, the perverse Black female figures profiled here eschew sublimation and synthesis as necessary responses to racial and gender subjugation in the past, present, and future.

Through its unique, groundbreaking analysis, this book contributes to the ongoing discussions on the ethics of representation―the capacity to speak and act for oneself, to have significance and impact, and ultimately, to reject acknowledgment.

Christina N. Baker’s Contemporary Black Women Filmmakers and the Art of Resistance is the first book-length analysis of representations of Black femaleness in the feature films of Black women filmmakers. These filmmakers resist dominant ideologies about Black womanhood, deliberately and creatively reconstructing meanings of Blackness that draw from their personal experiences and create new symbolic meaning of Black femaleness within mainstream culture. Addressing social issues such as the exploitation of Black women in the entertainment industry, the impact of mass incarceration on Black women, political activism, and violence, these films also engage with personal issues as complex as love, motherhood, and sexual identity. Baker argues that their counter-hegemonic representations have the potential to transform the narratives surrounding Black femaleness. At the intersection of Black feminism and womanism, Baker develops a “womanist artistic standpoint” theory, drawing from the work of Alice Walker, Patricia Hill Collins, bell hooks, Audre Lorde, and Kimberlé Crenshaw.
Analyzing the cultural texts of filmmakers such as Ava DuVernay, Tanya Hamilton, Kasi Lemmons, Gina Prince-Bythewood, and Dee Rees—and including interviews she conducted with three of the filmmakers—Baker emphasizes the importance of applying an intersectional perspective that centers on the shared experiences of Black women and the role of film as a form of artistic expression and a tool of social resistance.

A seminal Jones/Baraka literary land mine that launches AkashiClassics: Renegade Reprint Series. “Jones/Baraka usually speaks as a Negro—and always as an American. He is eloquent, he is bold. He demands rights—not conditional favors.” —New York Times Book Review In 2007, Akashic Books ushered Amiri Baraka back into the forefront of America’s literary consciousness with the short story collection Tales of the Out & the Gone. Now, this reissue of Home—long out of print—features a highly provocative and profoundly insightful collection of 1960s social and political essays. Home is, in effect, the ideological autobiography of LeRoi Jones/Amiri Baraka. The two dozen essays that constitute this book were written during a five-year span—a turbulent and critical period for African Americans and whites. The Cuban Revolution, the Birmingham bombings, Robert Williams’s Monroe Defense movement, the Harlem riots, the assassination of Malcolm X . . . each changed the way Jones/Baraka looked at America. This progressive change is recorded with honesty, anger, and passion in his writings.

The Souls of Black Folk is Du Bois’s outstanding contribution to modern political theory. It is his still influential answer to the question, “What kind of politics should African Americans conduct to counter white supremacy?” Here, in a major addition to American studies and the first book-length philosophical treatment of Du Bois’s thought, Robert Gooding-Williams examines the conceptual foundations of Du Bois’s interpretation of black politics.

For Du Bois, writing in a segregated America, a politics capable of countering Jim Crow had to uplift the black masses while heeding the ethos of the black folk: it had to be a politics of modernizing “self-realization” that expressed a collective spiritual identity. Highlighting Du Bois’s adaptations of Gustav Schmoller’s social thought, the German debate over the Geisteswissenschaften, and William Wordsworth’s poetry, Gooding-Williams reconstructs Souls’ defense of this “politics of expressive self-realization,” and then examines it critically, bringing it into dialogue with the picture of African American politics that Frederick Douglass sketches in My Bondage and My Freedom. Through a novel reading of Douglass, Gooding-Williams characterizes the limitations of Du Bois’s thought and questions the authority it still exerts in ongoing debates about black leadership, black identity, and the black underclass. Coming to Bondage and then to these debates by looking backward and then forward from Souls, Gooding-Williams lets Souls serve him as a productive hermeneutical lens for exploring Afro-Modern political thought in America.

Addresses the political and aesthetic evolution of African American literature and its authors during the Cold War, an era McCarthy calls “the Blue Period.”

In the years after World War II, to be a black writer was to face a stark predicament. The contest between the Soviet Union and the United States was a global one—an ideological battle that dominated almost every aspect of the cultural agenda. On the one hand was the Soviet Union, espousing revolutionary communism that promised egalitarianism while being hostile to conceptions of personal freedom. On the other hand was the United States, a country steeped in racial prejudice and the policies of Jim Crow.

Black writers of this time were equally alienated from the left and the right, Jesse McCarthy argues, and they channeled that alienation into remarkable experiments in literary form. Embracing racial affect and interiority, they forged an aesthetic resistance premised on fierce dissent from both US racial liberalism and Soviet communism. From the end of World War II to the rise of the Black Power movement in the 1960s, authors such as Richard Wright, James Baldwin, Gwendolyn Brooks, and Paule Marshall defined a distinctive moment in American literary culture that McCarthy terms the Blue Period.

In McCarthy’s hands, this notion of the Blue Period provides a fresh critical framework that challenges long-held disciplinary and archival assumptions. Black writers in the early Cold War went underground, McCarthy argues, not to depoliticize or liberalize their work, but to make it more radical—keeping alive affective commitments for a future time.

"James Baldwin was born for truth. It called upon him to tell it on the mountains, to preach it in Harlem, to sing it on the Left Bank in Paris. . . . He was a giant." — Maya Angelou

This collectible edition celebrates James Baldwin’s 100th-year anniversary, delving into his years in France and Switzerland

Originally published in Notes of a Native Son, the essays, "Encounter on the Seine: Black Meets Brown," "A Question of Identity," "Equal in Paris," and "Stranger in the Village" will appeal to readers interested in Baldwin's observations as a Black man overseas.

During his transformative time in Europe, Baldwin uncovers what it means to be American, immersing the reader in his life as a foreigner, his troubling encounter with a Parisian prison, and his unprecedented arrival to a tiny Swiss village.

This final collection in the Baldwin centennial anniversary series raises issues of identity, belonging, nationhood, and race within a global context. Encounter on the Seine: Essays showcases Baldwin’s strengths as a storyteller, revealing how his years in Paris transformed his understanding of American identity.

Challenges narrow perceptions of Blackness as both an identity and lived reality to understand the diversity of what it means to be Black in the US and around the world

What exactly is Blackness and what does it mean to be Black?
Is Blackness a matter of biology or consciousness?
Who determines who is Black and who is not?
Who’s Black, who’s not, and who cares?

In the United States, a Black person has come to be defined as any person with any known Black ancestry. Statutorily referred to as “the rule of hypodescent,” this definition of Blackness is more popularly known as the “one-drop rule,” meaning that a person with any trace of Black ancestry, however small or (in)visible, cannot be considered White. A method of social order that began almost immediately after the arrival of enslaved Africans in America, by 1910 it was the law in almost all southern states. At a time when the one-drop rule functioned to protect and preserve White racial purity, Blackness was both a matter of biology and the law. One was either Black or White. Period. Has the social and political landscape changed one hundred years later?

One Drop explores the extent to which historical definitions of race continue to shape contemporary racial identities and lived experiences of racial difference. Featuring the perspectives of 60 contributors representing 25 countries and combining candid narratives with striking portraiture, this book provides living testimony to the diversity of Blackness. Although contributors use varying terms to self-identify, they all see themselves as part of the larger racial, cultural, and social group generally referred to as Black. They have all had their identity called into question simply because they do not fit neatly into the stereotypical “Black box”—dark skin, “kinky” hair, broad nose, full lips, etc. Most have been asked “What are you?” or the more politically correct “Where are you from?” throughout their lives. It is through contributors’ lived experiences with and lived imaginings of Black identity that we can visualize multiple possibilities for Blackness.

This book unearths a food story buried deep within the soil of American civil rights history. Drawing on archival research, interviews, and oral histories, Bobby J. Smith II re-examines the Mississippi civil rights movement as a period when activists expanded the meaning of civil rights to address food as integral to sociopolitical and economic conditions. For decades, white economic and political actors used food as a weapon against Black sharecropping communities in the Yazoo-Mississippi Delta, but members of these communities collaborated with activists to transform food into a tool of resistance. Today, Black youth are building a food justice movement in the Delta to continue this story, grappling with inequalities that continue to shape their lives.

Drawing on multiple disciplines including critical food studies, Black studies, history, sociology, and southern studies, Smith makes critical connections between civil rights activism and present-day food justice activism in Black communities, revealing how power struggles over food empower them to envision Black food futures in which communities have the full autonomy and capacity to imagine, design, create, and sustain a self-sufficient local food system.

This classic iconic study of black images in American motion pictures has been updated and revised, as Donald Bogle continues to enlighten us with his historical and social reflections on the relationship between African Americans and Hollywood. He notes the remarkable shifts that have come about in the new millennium when such filmmakers as Steve McQueen (12 Years a Slave) and Ava DuVernay (Selma) examined America's turbulent racial history and the particular dilemma of black actresses in Hollywood, including Halle Berry, Lupita Nyong'o, Octavia Spencer, Jennifer Hudson, and Viola Davis. Bogle also looks at the ongoing careers of such stars as Denzel Washington and Will Smith and such directors as Spike Lee and John Singleton, observing that questions of diversity in the film industry continue. From The Birth of a Nation, the 1934 Imitation of Life, Gone with the Wind, and Carmen Jones to Shaft, Do the Right Thing, and Boyz N the Hood to Training Day, Dreamgirls, The Help, Django Unchained, and Straight Outta Compton, Donald Bogle compellingly reveals the way in which the images of blacks in American movies have significantly changed-and also the shocking way in which those images have often remained the same.

A powerful and revealing history of Historically Black Colleges and Universities (HBCUs), which have been essential for empowering Black citizens and for the ongoing fight for democracy in the US.

From their founding, Historically Black Colleges and Universities (HBCUs) educated as many as 90 percent of Black college students in the United States. Although many are aware of the significance of HBCUs in expanding Black Americans' educational opportunities, much less attention has been paid to the vital role that they have played in enhancing American democracy.

In The Power of Black Excellence, Deondra Rose provides an authoritative history of HBCUs and the unique role they have played in shaping American democracy since 1837. Drawing on over six years of deep research, Rose brings into view the historic impact that government support for HBCUs has had on the American political landscape, arguing that they have been essential for not only empowering Black citizens but also reshaping the distribution of political power in the United States. Rose challenges the conventional wisdom that, prior to the late twentieth century, the federal government took a laissez-faire approach to education. Instead, governmental action contributed to the expansion of HBCUs in an era plagued by racist policies and laws. Today, HBCUs remain extremely important, as evidenced by the outsized number of black political leaders--including Kamala Harris--who attended them. Rose stresses that policymakers promote democracy itself when they support HBCUs and their unique approach to postsecondary education, which includes a commitment to helping students develop politically empowering skills, promoting political leadership, and fostering a commitment to service.

A fresh look into the relationship between education and democracy, The Power of Black Excellence is essential reading for anyone interested not just in HBCUs, but the broader trajectory of Black citizenship in American history.

How medieval-inspired racial feudalism reigned in early America and was challenged by Black liberal thinkers

Though the United States has been heralded as a beacon of democracy, many nineteenth-century Americans viewed their nation through the prism of the Old World. What they saw was a racially stratified country that reflected not the ideals of a modern republic but rather the remnants of feudalism. American Dark Age reveals how defenders of racial hierarchy embraced America’s resemblance to medieval Europe and tells the stories of the abolitionists who exposed it as a glaring blemish on the national conscience.

Against those seeking to maintain what Frederick Douglass called an “aristocracy of the skin,” Keidrick Roy shows how a group of Black thinkers, including Frances Ellen Watkins Harper, Hosea Easton, and Harriet Jacobs, challenged the medievalism in their midst—and transformed the nation’s founding liberal tradition. He demonstrates how they drew on spiritual insight, Enlightenment thought, and a homegrown political philosophy that gave expression to their experiences at the bottom of the American social order. Roy sheds new light on how Black abolitionist writers and activists worked to eradicate the pernicious ideology of racial feudalism from American liberalism and renew the country’s commitment to values such as individual liberty, social progress, and egalitarianism.

American Dark Age reveals how the antebellum Black liberal tradition holds vital lessons for us today as hate groups continue to align themselves with fantasies of a medieval past and openly call for a return of all-powerful monarchs, aristocrats, and nobles who rule by virtue of their race.

Oceania is a vast sea of islands, large scale political struggles and immensely significant historical phenomena. Pasifika Black is a compelling history of understudied anti-colonial movements in this region, exploring how indigenous Oceanic activists intentionally forged international connections with the African world in their fights for liberation.

Drawing from research conducted across Fiji, Australia, Vanuatu, Papua New Guinea, Britain, and the United States, Quito Swan shows how liberation struggles in Oceania actively engaged Black internationalism in their diverse battles against colonial rule. Pasifika Black features as its protagonists Oceania's many playwrights, organizers, religious leaders, scholars, Black Power advocates, musicians, environmental justice activists, feminists, and revolutionaries who carried the banners of Black liberation across the globe. It puts artists like Aboriginal poet Oodgeroo Noonuccal and her 1976 call for a Black Pacific into an extended conversation with Nigeria’s Wole Soyinka, the Nuclear Free and Independent Pacific’s Amelia Rokotuivuna, Samoa’s Albert Wendt, African American anthropologist Angela Gilliam, the NAACP’s Roy Wilkins, West Papua’s Ben Tanggahma, New Caledonia’s Déwé Gorodey, and Polynesian Panther Will ‘Ilolahia. In so doing, Swan displays the links Oceanic activists consciously and painstakingly formed in order to connect Black metropoles across the Atlantic, Pacific, and Indian Oceans.

Many of the earliest Africans to arrive in the Americas came to Central America with Spanish colonists in the sixteenth and seventeenth centuries, and people of African descent constituted the majority of nonindigenous populations in the region long thereafter. Yet in the development of national identities and historical consciousness, Central American nations have often countenanced widespread practices of social, political, and regional exclusion of blacks. The postcolonial development of mestizo or mixed-race ideologies of national identity have systematically downplayed African ancestry and social and political involvement in favor of Spanish and Indian heritage and contributions. In addition, a powerful sense of place and belonging has led many peoples of African descent in Central America to identify themselves as something other than African American, reinforcing the tendency of local and foreign scholars to see Central America as peripheral to the African diaspora in the Americas. The essays in this collection begin to recover the forgotten and downplayed histories of blacks in Central America, demonstrating the centrality of African Americans to the region’s history from the earliest colonial times to the present. They reveal how modern nationalist attempts to define mixed-race majorities as “Indo-Hispanic,” or as anything but African American, clash with the historical record of the first region of the Americas in which African Americans not only gained the right to vote but repeatedly held high office, including the presidency, following independence from Spain in 1821.

Contributors. Rina Cáceres Gómez, Lowell Gudmundson, Ronald Harpelle, Juliet Hooker, Catherine Komisaruk, Russell Lohse, Paul Lokken, Mauricio Meléndez Obando, Karl H. Offen, Lara Putnam, Justin Wolfe

For thirty-five years, the New Orleans-based Black feminist collective Women With A Vision (WWAV) has fought for the liberation of their communities through reproductive justice, harm reduction, abolition feminism, racial justice, and sex workers' rights. In 2012, shortly after one of WWAV's biggest organizing victories, arsonists firebombed and destroyed their headquarters. Fire Dreams is an innovative collaboration between WWAV and Laura McTighe, who work in community to build a social movement ethnography of the organization’s post-arson rebirth. Rooting WWAV in the geography of the South and the living history of generations of Black feminist thinkers, McTighe and WWAV weave together stories from their founders’ pioneering work during the Black HIV/AIDS crisis in the 1980s and their groundbreaking organizing to end criminalization in the aftermath of Hurricane Katrina---with other movements for liberation as accomplices. Together, the authors refuse the logics of racial capitalism and share WWAV’s own world-building knowledges, as well as their methods for living these Black feminist futures now. Fire Dreams is a vital toolkit for grassroots organizers, activist-scholars, and all those who dream to make the world otherwise.

In Sentient Flesh R. A. Judy takes up freedman Tom Windham’s 1937 remark “we should have our liberty 'cause . . . us is human flesh" as a point of departure for an extended meditation on questions of the human, epistemology, and the historical ways in which the black being is understood. Drawing on numerous fields, from literary theory and musicology, to political theory and phenomenology, as well as Greek and Arabic philosophy, Judy engages literary texts and performative practices such as music and dance that express knowledge and conceptions of humanity appositional to those grounding modern racialized capitalism. Operating as critiques of Western humanism, these practices and modes of being-in-the-world—which he theorizes as “thinking in disorder,” or “poiēsis in black”—foreground the irreducible concomitance of flesh, thinking, and personhood. As Judy demonstrates, recognizing this concomitance is central to finding a way past the destructive force of ontology that still holds us in thrall. Erudite and capacious, Sentient Flesh offers a major intervention in the black study of life.

This is the first book to dedicate scholarly attention to the work of Tarell Alvin McCraney, one of the most significant writers and theater-makers of the twenty-first century. Featuring essays, interviews, and commentaries by scholars and artists who span generations, geographies, and areas of interest, the volume examines McCraney’s theatrical imagination, his singular writerly voice, his incisive cultural critiques, his stylistic and formal creativity, and his distinct personal and professional trajectories.
 
Contributors consider McCraney’s innovations as a playwright, adapter, director, performer, teacher, and collaborator, bringing fresh and diverse perspectives to their observations and analyses. In so doing, they expand and enrich the conversations on his much-celebrated and deeply resonant body of work, which includes the plays Choir Boy, Head of Passes, Ms. Blakk for President, The Breach, Wig Out!, and the critically acclaimed trilogy The Brother/Sister Plays: In the Red and Brown Water, The Brothers Size, and Marcus; Or the Secret of Sweet, as well as the Oscar Award–winning film Moonlight, which was based on his play In Moonlight Black Boys Look Blue.

For a decade and a half, since she first appeared in the Birmingham Centre’s collective volume The Empire Strikes Back, Hazel Carby has been on the frontline of the debate over multicultural education in Britain and the US. This book brings together her most important and influential essays, ranging over such topics as the necessity for racially diverse school curricula, the construction of literary canons, Zora Neale Hurston’s portraits of “the Folk,” C.L.R. James and Trinidadian nationalism and black women blues artists, and the necessity for racially diverse school curricula. Carby’s analyses of diverse aspects of contemporary culture are invariably sharp and provocative, her political insights shrewd and often against the grain. A powerful intervention, Culture in Babylon will become a standard reference point in future debates over race, ethnicity and gender.

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A passionate, powerful memoir by a trailblazing Black transgender activist, tracing her life of transformation and her work towards collective liberation.

Born in Augusta, Georgia, to Black Catholic parents, Raquel spent years feeling isolated, even within a loving, close-knit family. There was little access to understanding what it meant to be queer and transgender. It wasn’t until she went to the University of Georgia that she found the LGBTQ+ community, fell in love, and explored her gender for the first time. But the unexpected death of her father forced her to examine her relationship with herself and those she loved. These years of grief, misunderstanding, and hard-won epiphanies seeped into the soil of her life, serving as fertilizer for growth and allowing her to bloom within.

Upon graduation, Raquel entered a career in journalism against the backdrop of the burgeoning Movement for Black Lives, intersectional feminism going mainstream, and unprecedented visibility of the trans community. After hiding her identity as a newspaper reporter, her increasing awareness of the epidemic of violence plaguing trans women of color and the heightened suicide of trans teens inspired her to come out publicly. Within just a few short years of community organizing in Atlanta, Oakland, and New York, Raquel emerged as one of the most formidable Black trans activists in history.

In The Risk It Takes to Bloom, Raquel Willis recounts the possibility of transformation after tragedy, and how complex moments can push us all to take necessary risks and bloom toward collective liberation.

The first critical examination of death and remembrance in the digital age—and an invitation to imagine Black digital sovereignty in life and death.
 
In Resurrecting the Black Body, Tonia Sutherland considers the consequences of digitally raising the dead. Attending to the violent deaths of Black Americans—and the records that document them—from slavery through the social media age, Sutherland explores media evidence, digital acts of remembering, and the right and desire to be forgotten.
 
From the popular image of Gordon (also known as "Whipped Peter") to photographs of the lynching of Jesse Washington to the video of George Floyd's murder, from DNA to holograms to posthumous communication, this book traces the commodification of Black bodies and lives across time. Through the lens of (anti-)Blackness in the United States, Sutherland interrogates the intersections of life, death, personal data, and human autonomy in the era of Google, Twitter, and Facebook, and presents a critique of digital resurrection technologies. If the Black digital afterlife is rooted in bigotry and inspires new forms of racialized aggression, Resurrecting the Black Body asks what other visions of life and remembrance are possible, illuminating the unique ways that Black cultures have fought against erasure and oblivion.

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It has long been argued that women, especially black women, have been relegated to a second-class status in American society, and despite modern advances remain subject to a debilitating discrimination in many areas of life. This book presents a fresh perspective on the many facets of sexism experienced by African American women, addressing such issues as wage disparity, spousal abuse, and the rising rate of AIDS among black women. It also examines the roots of sexism among African American males, including the effect of gangster rap music on perceptions of black women, and offers strategies for change.

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A manifesto from one of America's most influential activists which disrupts political, economic, and social norms by reimagining the Black Radical Tradition.

Drawing on Black intellectual and grassroots organizing traditions, including the Haitian Revolution, the US civil rights movement, and LGBTQ rights and feminist movements, Unapologetic challenges all of us engaged in the social justice struggle to make the movement for Black liberation more radical, more queer, and more feminist. This book provides a vision for how social justice movements can become sharper and more effective through principled struggle, healing justice, and leadership development. It also offers a flexible model of what deeply effective organizing can be, anchored in the Chicago model of activism, which features long-term commitment, cultural sensitivity, creative strategizing, and multiple cross-group alliances. And Unapologetic provides a clear framework for activists committed to building transformative power, encouraging young people to see themselves as visionaries and leaders.

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As our institutions and systems creak under the pressure of entrenched racism, renowned scholar Dr. Victor Ray explains how Critical Race Theory upholds truth amid misinformation to transcend backlash and uplift progress. On Critical Race Theory illustrates the centrality of race in American history and politics, and how the often mischaracterized intellectual movement became a political necessity.

Dr. Ray draws upon the radical thinking of giants such as Dr. Martin Luther King, Jr., Ida B. Wells, and W.E.B. Du Bois to clearly trace the foundations of Critical Race Theory in the Black intellectual traditions of emancipation and the civil rights movement. From this foundation, Dr. Ray explores the many facets that CRT interrogates, from deeply embedded structural racism to the historical connection between Whiteness and property, ownership, and more.

Dr. Ray argues that multicultural democracy is a recent and relatively fragile innovation that is under threat, in the face of the erosion of voting rights and attacks on speech at universities nationwide. He calls on readers to recall that it took the intervention of the National Guard to integrate schools as recently as 1960, that codifying racial subjugation has become the norm, and that populist demagoguery deployed racial insecurities to stir the January 6th insurrection and threaten the fabric of democracy.

In succinct and thoughtful essays, Dr. Ray explores how the conversation on CRT has expanded into the contemporary popular consciousness, showing why Critical Race Theory matters and why we all should care.

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In Afro-Fabulations: The Queer Drama of Black Life, cultural critic and historian Tavia Nyong’o surveys the conditions of contemporary black artistic production in the era of post-blackness. Moving fluidly between the insurgent art of the 1960’s and the intersectional activism of the present day, Afro-Fabulations challenges genealogies of blackness that ignore its creative capacity to exceed conditions of traumatic loss, social death, and archival erasure.

If black survival in an anti-black world often feels like a race against time, Afro-Fabulations looks to the modes of memory and imagination through which a queer and black polytemporality is invented and sustained. Moving past the antirelational debates in queer theory, Nyong’o posits queerness as “angular sociality,” drawing upon queer of color critique in order to name the gate and rhythm of black social life as it moves in and out of step with itself. He takes up a broad range of sites of analysis, from speculative fiction to performance art, from artificial intelligence to Blaxploitation cinema. Reading the archive of violence and trauma against the grain, Afro-Fabulations summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life.

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Tracey E. Hucks traces the history of the repression of Obeah practitioners in colonial Trinidad.

Obeah, Orisa, and Religious Identity in Trinidad is an expansive two-volume examination of social imaginaries concerning Obeah and Yoruba-Orisa from colonialism to the present. Analyzing their entangled histories and systems of devotion, Tracey E. Hucks and Dianne M. Stewart articulate how these religions were criminalized during slavery and colonialism yet still demonstrated autonomous modes of expression and self-defense. In Volume I, Obeah, Hucks traces the history of African religious repression in colonial Trinidad through the late nineteenth century. Drawing on sources ranging from colonial records, laws, and legal transcripts to travel diaries, literary fiction, and written correspondence, she documents the persecution and violent penalization of African religious practices encoded under the legal classification of “obeah.” A cult of antiblack fixation emerged as white settlers defined themselves in opposition to Obeah, which they imagined as terrifying African witchcraft. These preoccupations revealed the fears that bound whites to one another. At the same time, persons accused of obeah sought legal vindication and marshaled their own spiritual and medicinal technologies to fortify the cultural heritages, religious identities, and life systems of African-diasporic communities in Trinidad.

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The Black Lives Matter movement has exposed the state violence and social devaluation that Black populations continue to suffer. Police shootings and incarceration inequalities in the US and UK are just two examples of the legacy of slavery today. This book offers a criminological exploration of the case for slavery and anti-Black racism reparations in the context of the enduring harms and differential treatment of Black citizens. Through critical analysis of legal arguments and reviewing recent court actions, it refutes the policy perspectives that argue against reparations. Highlighting the human rights abuses inherent to and arising from slavery and ongoing racism, this book calls for governments to take responsibility for the impact of ongoing racialized injustice.