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.

Under the editorship of the late Robert Nemiroff, with a provocative and thoughtful introduction by preeminent African-American scholar Margaret B. Wilkerson and a commentary by Spike Lee, this completely restored screenplay is the accurate and authoritative edition of Lorraine Hansberry's script and a testament to her unparalled accomplishment as a Black artist.

The 1961 film version of A Raisin in the Sun, with a screenplay by the author, Lorraine Hansberry, won an award at the Cannes Film Festival even though one-third of the actual screenplay Hansberry had written had been cut out. The film did essentially bring Hansberry's extraordinary play to the screen, but it failed to fulfill her cinematic vision.

Now, with this landmark edition of Lorraine Hansberry's original script for the movie of A Raisin in the Sun that audiences never viewed, readers have at hand an epic, eloquent work capturing not only the life and dreams of a Black family, but the Chicago—and the society—that surround and shape them.

Important changes in dialogue and exterior shots, a stunning shift of focus to her male protagonist, and a dramatic rewriting of the final scene show us an artist who understood and used the cinematic medium to transform a stage play into a different art form—a profound and powerful film.

From New York Times bestselling author Shanora Williams comes an emotional page-turner about two people still reeling from tragedy who look to each other for the strength to move forward.

It’s been months since her dreams of forever were brutally shattered. Seven long months since her husband and soulmate, Lew, died in her arms, leaving her to carry on. Alone. And Davina Klein-Roberts still isn’t sure how to move forward.

To escape her anguish, Davina throws everything into work, pushing Golden Oil Co., her self-built skin care line, to become a viral success. Now she’s poised to clinch a major endorsement deal too. But it’s bittersweet without Lew by her side.

A meeting with Deke Bishop, the hot NBA star she’s courting for her brand, leaves Davina flustered. With his dimpled smile and warm handshake, Deke’s a natural pitchman. And he’s clearly interested―not only in her lotions.

Davina soon discovers that Deke’s more than just another player and carries his own pain. But as her feelings for him grow, so does her guilt. Will the pain of a future already lost keep her from embracing hope for a new one?

From island life in the Caribbean to a new beginning in France, a young man comes of age in a sweeping and lyrical novel about family, loss, secrets, and finding freedom from the past.

Eighteen-year-old Salomon Destin graduates high school and anxiously trades life on Guadeloupe in the Caribbean for France to continue his studies.

Strasbourg is his new home. He’s carving out a promising new path for himself. And most of all, he’s left behind the disorder of so much family drama, including that of a dissolute father, a mother who turns a blind eye to the chaos, his troubled and aimless brother Junior, and Salomon’s inherited obligations as peacekeeper. Although one year away, in love for the first time, and an ocean safely separating his old life and new, Salomon is pulled back to the island by the news of a tragedy. As unexpectedly comforting as Guadeloupe is―the food, music, ocean, and sun stirring up beautiful island memories―the traumas of the past remain.

Years later, while facing the echoes of family demons in his own marriage and confronting the stunning secrets and revelations to come, Salomon, and everyone he loves, must find the strength to move forward once and for all. But will freedom come with a price?

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This much anticipated follow-up to Dr. Robert D. Bullard's highly acclaimed Unequal Protection: Environmental Justice and Communities of Color captures the voices of frontline warriors who are battling environmental injustice and human rights abuses at the grassroots level around the world, and challenging government and industry. policies and globalization trends that place people of color and the poor at special risk.

Part I presents an overview of the early environmental justice movement and highlights key leadership roles assumed by women activists. Part II examines the lives of people living in "sacrifice zones"-toxic corridors (such as Louisiana's infamous "Cancer Alley") where high concentrations of polluting industries are found. Part III explores land use, land rights, resource extraction, and sustainable development conflicts, including Chicano struggles in America's Southwest. Part IV examines human rights and global justice issues, including an analysis of South Africa's legacy of environmental racism and the corruption and continuing violence plaguing the oil-rich Niger Delta.

Together, the diverse contributors to this much-anticipated follow-up anthology present an inspiring and illuminating picture of the environmental justice movement in the first decade of the twenty-first century.

How artists from Paul Klee and Mierle Laderman Ukeles to Faith Ringgold and Deborah Roberts have explored childhood themes of innocence, spontaneity and storytelling

Artists have long been inspired by children—by their imagination, creativity and unique ways of seeing and being in the world—and have made work that depicts and involves children as collaborators, that represents or mimics their ways of drawing or telling stories, that highlights their unique cultures, and that addresses ideas of innocence and spontaneity closely associated with children. To Begin Again: Artists and Childhood surveys how artists have reflected on and contributed to notions of childhood from the early 20th century to the present. The works in To Begin Again offer distinctive viewpoints and experiences, revealing how time and place, economics and race, and representation and aesthetics fundamentally shape how we experience and understand early development. The catalog underscores that while there is no single, uniform idea of childhood, it is nevertheless the ground upon which so much of society is built, negotiated and imagined.
Artists include: Ann Agee, John Ahearn, Njideka Akunyili Crosby, Francis Alÿs, Jean-Michel Basquiat, Brian Belott, Jordan Casteel, Lenka Clayton, Allan Rohan Crite, Henry Darger, Karon Davis, Robert Gober, Jay Lynn Gomez, Trenton Doyle Hancock, Duane Hanson, Mona Hatoum, Sharon Hayes, Ekua Holmes, Mary Kelly, Paul Klee, Justine Kurland, Helen Levitt, Tau Lewis, Glenn Ligon, Oscar Murillo, Rivane Neuenschwander, Berenice Olmedo, Charles Ray, Faith Ringgold, Deborah Roberts, Tim Rollins and K.O.S., Rachel Rose, Heji Shin, Sable Elyse Smith, Becky Suss, Mierle Laderman Ukeles, Cathy Wilkes and Carmen Winant.

A gift-worthy hardcover edition reexamining Kahlo's most subversive yet heart-wrenching self-portrait

In 1940, in the wake of a divorce from her husband Diego Rivera, Frida Kahlo (1907–54) turned to self-portraiture to express her deepest emotional and psychological impulses, and completed a painting inscribed with the lyrics of a popular folk song, "La Pelona": "Look, if I loved you it was for your hair. Now that you're without it, I no longer love you." In Self-Portrait with Cropped Hair, Kahlo's usual lively and saturated palette is supplanted by neutral hues, her Tehuana dress by a man's suit and her plaited hair by shorn locks that appear to wriggle up from the floor and around her chair, strangely alive. Nevertheless, the painting remains unmistakably Kahlo's, intensely felt, dreamlike and displaying references that encompass both popular culture and details from the artist's private life. In this richly illustrated volume, which includes the artist's most celebrated self-portraits and other related images, art historian Jodi Roberts situates the painting in the context of the Mexican Revolution, the Surrealist tradition and Kahlo's own changing of her artistic identity. This expanded hardcover edition includes additional illustrations and photographs, and features a die-cut on the front cover.

He's not like other dukes…

Paris, 1889

Physician Aurora Montalban Wright takes risks in her career, but never with her heart. Running an underground women’s clinic exposes her to certain dangers, but help arrives in the unexpected form of the infuriating Duke of Annan. Begrudgingly, Aurora accepts his protection, then promptly finds herself in his bed.

New to his role as a duke, Apollo César Sinclair Robles struggles to embrace his position. With half of society waiting for him to misstep and the other half looking to discredit him, Apollo never imagined that his enthralling bedmate would become his most trusted adviser. Soon, he realizes the rebellious doctor could be the perfect duchess for him. But Aurora won’t give up her independence, and her secrets make her unsuitable for the aristocracy.

When dangerous figures from their pasts return to threaten them, Apollo whisks Aurora away to the French Riviera. Far from the reproachful eye of Parisian society, can Apollo convince Aurora that their bond is stronger than the forces keeping them apart?

Can't get enough of the Las Leonas?
* Book 1: A Caribbean Heiress in Paris
* Book 2: An Island Princess Starts a Scandal
* Book 3: A Tropical Rebel Gets the Duke

An acclaimed historian narrates the stories of newly emancipated children who were re-enslaved by white masters through apprenticeships and their parents fights to free them

While the Thirteenth Amendment abolished slavery, white southerners established a system of apprenticeship after the Civil War that entrapped Black children and their families, leading to undue hardships for generations to come. In Slavery After Slavery, historian Mary Frances Berry traces the stories behind individual cases from southern supreme courts to demonstrate how formerly enslaved families and their descendants were systemically injured through white supremacist practices, perpetuated by the legal system.

By filling in the family trees of formerly enslaved people to their descendants, Berry documents the intergenerational harm they experienced. The resulting damage of trafficking Black children through apprenticeship laws has been a largely overlooked source of inequality, yet these cases provide specific examples of the kind of economic and physical harm Black families have endured.

Slavery After Slavery tells individual stories, but the fates of their descendants tell our collective American story—contributing powerfully to a case for reparations and restorative justice.

The Romare Bearden Reader brings together a collection of new essays and canonical writings by novelists, poets, historians, critics, and playwrights. The contributors, who include Toni Morrison, Ralph Ellison, August Wilson, Farah Jasmine Griffin, and Kobena Mercer, contextualize Bearden's life and career within the history of modern art, examine the influence of jazz and literature on his work, trace his impact on twentieth-century African American culture, and outline his art's political dimensions. Others focus on specific pieces, such as A Black Odyssey, or the ways in which Bearden used collage to understand African American identity. The Reader also includes Bearden's most important writings, which grant readers insight into his aesthetic values and practices and share his desire to tell what it means to be black in America. Put simply, The Romare Bearden Reader is an indispensable volume on one of the giants of twentieth-century American art.

Contributors. Elizabeth Alexander, Romare Bearden, Mary Lee Corlett, Rachel DeLue, David C. Driskell, Brent Hayes Edwards, Ralph Ellison, Henri Ghent, Farah Jasmine Griffin, Harry Henderson, Kobena Mercer, Toni Morrison, Albert Murray, Robert G. O’Meally, Richard Powell, Richard Price, Sally Price, Myron Schwartzman, Robert Burns Stepto, Calvin Tomkins, John Edgar Wideman, August Wilson

A full facsimile reproduction of the era-defining queer magazine that documented Chicago’s Black nightlife scene of the early ’90s

Started in 1989 by designer and writer Robert Ford, THING magazine was the voice of Chicago’s queer Black music and arts scene in the early 1990s. Ford and his editors were part of the burgeoning house music scene, which originated in Chicago’s queer underground, and some of the top DJs and musicians from that time were featured in the magazine, including Frankie Knuckles and RuPaul. THING published 10 issues from 1989 to 1993, before it was cut short by Ford’s death from HIV/AIDS-related causes.
While THING primarily focused on music, it also opened its pages to a wide range of subjects: poetry and gossip, fiction and art, interviews and polemics. The AIDS crisis loomed large in its contents, particularly in the personal reflections and practical resources that it published. In a moment when the gay community was besieged by the AIDS crisis and a wantonly cruel government, the influence and significance of this cheaply produced newsprint magazine vastly exceeded its humble means, presenting a beautiful portrait of the ball and club cultures that existed in Chicago with deep intellectual reflections. THING was a publication by and for its community, and understood the fleetingness of its moment.
To reencounter this work today is to reinstate the Black voices who were so central to the history of AIDS activism and queer and club culture, but which were often sidelined by white queer discourse. This volume collects all 10 editions of this iconic magazine.