A short story collection in the vein of Danielle Evans and Bryan Washington, about community, home, betrayal, and forgiveness.

HOLLER, CHILD is a short story collection packed with extraordinary and unforgettable writing and scenes, that explores concerns and issues that press at the bruises of guilt, betrayal, and forgiveness.

Set in the same Black community in Texas as PERISH, LaToya's debut novel, each story focuses on unique characters that illuminate life in Texas; they offer briliant, heartbreaking, but ultimately hopeful perspectives from the women and men in the community, and touch on big themes like race, power, inequality, and more.

In one story, the appearance of a horse in a man's suburban backyard places a former horse breeder in trouble with the police, while in another, following the mass suicide of his entire congregation, the mother of a cult leader tries to honor him in a way she couldn't while he was alive.

Fresh and urgently told, HOLLER, CHILD is a wise follow-up to LaToya's debut novel.

Johnson looks at various sites of performed blackness, including Marlon Riggs’s influential documentary Black Is . . . Black Ain’t and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother’s experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances—ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community—Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness.

A radical new vision of the nation's founding era and a major act of historical recovery 

Featuring more than 120 writers, this groundbreaking anthology reveals the astonishing richness and diversity of Black experience in the turbulent decades of the American Revolution

Black Writers of the Founding Era is the most comprehensive anthology ever published of Black writing from the turbulent decades surrounding the birth of the United States. An unprecedented archive of historical sources––including more than 200 poems, letters, sermons, newspaper advertisements, slave narratives, testimonies of faith and religious conversion, criminal confessions, court transcripts, travel accounts, private journals, wills, petitions for freedom, even dreams, by over 100 authors––it is a collection that reveals the surprising richness and diversity of Black experience in the new nation.

Here are writers both enslaved and free, loyalist and patriot, female and male, northern and southern; soldiers, seamen, and veterans; painters, poets, accountants, orators, scientists, community organizers, preachers, restaurateurs and cooks, hairdressers, criminals, carpenters, and many more. Along with long-famous works like Phillis Wheatley’s poems and Benjamin Banneker’s astonishing mathematical and scientific puzzles are dozens of first-person narratives offering little-known Black perspectives on the events of the times, like the Boston Massacre and the death of George Washington.

From their bold and eloquent contributions to public debates about the meanings of the revolution and the values of the new nation–– writings that dramatize the many ways in which protest, activism, and community organizing have been integral to the Black American experience from the beginning––to their intimate thoughts preserved in private diaries and letters, some unseen to the present day, the words of the many writers gathered here will indelibly alter our understandings of American history. 

A foreword by Annette Gordon-Reed and an introduction by James G. Basker, along with introductory headnotes and explanatory notes drawing on cutting edge scholarship, illuminate these writers’ works and to situate them in their historical contexts.

A 16-page color photo insert presents portraits of some of the writers included and images of the original manuscripts, broadside, and books in which their words have been preserved.

The first book to center Black artists' voices on Black aesthetics, revealing a century of evolving relationships to race, identity, and art.
 
What is Black art? No one has thought harder about that question than Black artists, yet their perspectives have been largely ignored. Instead, their stories have been told by intellectuals like W. E. B. Du Bois and Alain Locke, who defined "a school" of Black art in the early twentieth century. For the first time, Black Artists in Their Own Words offers an insightful corrective.
 
Esteemed art historian Lisa Farrington gathers writing spanning a century across the United States, the Caribbean, and the African continent—including from renowned artists Henry Tanner, Nancy Elizabeth Prophet, Romare Bearden, Wifredo Lam, Renee Cox, and many more—that reveals both evolutions and equivocations. Many artists, especially during the civil rights era, have embraced Black aesthetics as a source of empowerment. Others prefer to be artists first and Black second, while some have rejected racial identification entirely. Here, Black artists reclaim their work from reductive critical narratives, sharing the motivations underlying their struggles to create in a white-dominated art world.

The early 2020s will long be known as a period of racial reflection. In the wake of the police killing of George Floyd, Americans of all backgrounds joined together in historic demonstrations in the streets, discussions in the workplace, and conversations at home about the financial gaps that remain between white and Black Americans. This deeply investigated book follows the lives of seven Black Americans of different economic levels, ages and professions during the three years following this period of racial reckoning.  

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From one of America's most venerable politicians, The First Eight is an extraordinary work of living history: the powerful, untold story of the pioneering Black politicians from South Carolina who were elected to Congress in the aftermath of the Civil War, and a revealing explanation of why it took nearly a century before the ninth, James Clyburn, was elected.

Today, South Carolina congressman James E. Clyburn is renowned as a Democratic kingmaker and our nation's most august Black political leader. But behind him stand eight other remarkable men: the first Black politicians to go to Congress from his home state, and who blazed a path for his own ascent. Since his own arrival in Congress in the early nineties, Congressman Clyburn has been guided by the wisdom and example of these men, and also instructed by their struggles—especially with the demon of American racism. South Carolina's first eight Black congressmen all rose to office following the Civil War and emancipation, but then the dark veil of Jim Crow fell across the South. It would take nearly a century before the ninth Black representative, Clyburn himself, was elected.

In The First Eight, Congressman Clyburn shares these men's stories, and their message of liberty, with the nation they served. Among them are Joseph Rainey, the first Black politician to be elected to the U.S. House of Representatives in our nation's history, who was born enslaved in 1832; Robert Smalls, iconic for his heroism during the Civil War, when he fled the Confederacy, stole a ship, and fought for the Union Army; and Richard Cain, who ran a widely read newspaper for Black South Carolinians and is associated with the Emanuel AME Church, one of the oldest and most distinguished Black churches in America, and where neo-Nazi Dylan Roof killed nine Black congregants in a mass shooting in 2015. Through the trials, tribulations, triumphs, and challenges that all nine men faced, Congressman Clyburn reveals a whole new way of understanding the period between the Civil War and the present.

A unique blend of history and memoir, The First Eight is both a monument to the legacies of these eight trailblazing Americans, and also a clear-eyed appraisal of how far we've come, and how far we have left to go, in our nation's ongoing struggle for true democracy.

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America’s great promise of equality has always rung hollow in the ears of African Americans. But today the situation has grown even more dire. Democracy in Black is Eddie S. Glaude Jr.'s impassioned response. Part manifesto, part history, part memoir, it argues that we live in a country founded on a “value gap”—with white lives valued more than others—that still distorts our politics today. 

Blackdom, New Mexico, was a township that lasted aboutthirty years. In this book, Timothy E. Nelson situates the township’s storywhere it belongs: along the continuum of settlement in Mexico’s Northern Frontier.Dr. Nelson illuminates the set of conscious efforts that helped Black pioneersdevelop Blackdom Township into a frontier boomtown.

“Blackdom” started as an inherited idea of a nineteenth-centuryAfrotopia. The idea of creating a Blackdom was refined within Blackinstitutions as part of the perpetual movement of Black Colonization. In 1903,thirteen Black men, encouraged by the 1896 Plessy decision, formed the BlackdomTownsite Company and set out to make Blackdom a real place in New Mexico, wherethey were outside the reach of Jim Crow laws.

Many believed that Blackdom was simply abandoned. However,new evidence shows that the scheme to build generational wealth continued toexist throughout the twentieth century in other forms. During Blackdom’s boomtimes,in December 1919, Blackdom Oil Company shifted town business from aregenerative agricultural community to a more extractive model. Nelson hasuncovered new primary source materials that suggest for Blackdom a newlydiscovered third decade. This story has never been fully told or contextualizeduntil now.

A historical and philosophical exploration of the impact of design on underserved communities, examining the field’s shortcomings as well as its potential to create positive change. Through essays that delve into history and practice, and case studies that demonstrate practical strategies, Design Against Racism explores how designers of all disciplines can address, through their work, the legacies of racism and oppression.

Design profoundly influences culture. The heart of this book is its powerful blend of essays on design history, illustrated case studies, and discussions of practical methods to approach design work, adapted from the restorative justice movement. It explores how design as a professional practice and academic discipline directly affects historically excluded communities, offering frameworks and examples that foster collective improvement.

Topics from author Omari Souza, founder of the annual State of Black Design conference, and contributing design professionals include:
* Unveiling the White Gaze: The Narrative of Whiteness and Colonial Nostalgia
* Language as a Tool for Marginalization—and Resistance
* Hip-Hop Architecture: Transforming Spaces through Culture and Innovation
* Afrofuturism as a Design Strategy
* Whose Knowledge Is It? Reclaiming Histories, Narratives, and the Plurality of Knowledge
* Nonhierarchical Engagement with Communities—Anti-Racist Design Community Pop-Up

This is a critique of design and a practical handbook that will teach designers and educators how a restorative justice approach can transform their design practice to counteract and fight racism.

TIMELY AND ESSENTIAL TOPICS: Thought-provoking essays from leaders in design diversity offer an anti-racist approach to design practice based in an understanding of history, a focus on community building, and a commitment to inclusion.

AUTHOR & CONTRIBUTORS: Omari Souza is an Assistant Professor of Communication Design at the University of North Texas and co-host of the highly acclaimed minisode podcast The Design of Business | The Business of Design. Contributors include preeminent design professionals George Fourlas, Shamika Klassen, Kaleena Sales, Zariah Cameron, Lesley-Ann Noel, Cassini Nazir, Yolanda A. Rankin, Soniyah Robinson, and Danielle Lake.

Perfect for:
* Student and professional design practitioners of all disciplines, including graphic designers, product designers, architects, and more
* Course adoption for design programs
* Anyone eager to explore the themes of anti-racism and decolonizing design

Residual textures, patterns and structures of the abandoned Ebony and Jet offices represent both the spirit of a Black publishing empire and the sense of its loss

This book by photographer Barbara Karant commemorates the Johnson Publishing Company, publisher of the iconic Ebony and Jet magazines and the most influential Black-owned media corporation of its day. Karant spent more than three years documenting the company’s historic building at 820 S. Michigan Avenue in downtown Chicago, capturing the last vestiges of the original workspace after the company sold the building in 2010 and relocated in 2012. These vibrant interiors, which remained largely unchanged from 1972 to 2012, fostered the creativity of a staff working in a variety of media. Each floor of the 11-story building flaunted distinct color and pattern combinations, and its bold, contemporary design telegraphed JPC’s position at the forefront of Black American business and culture. Stripped of its furnishings, the interiors of the former JPC headquarters simultaneously represent the spirit of this landmark company and the sense of its loss, of a seminal moment in Black American history and the history of this nation.
Accompanying the approximately 125 color photographs by Karant are documentary images of the original interiors, along with other archival material.  A foreword by Deborah Willis and essays by Aaron Bryant, Cheryl Finley, Carla Williams, Jon Ott, Brenna Wynn Greer, and E. James West address JPC’s dominance as an image and tastemaker in mid- to late-20th century America, the landscape of American Black media, the Ebony in-house photo studio, and the site-specific lobby sculpture by Richard Hunt. Short texts by former employees who worked in the building contribute important documentation to JPC’s history. 820 Ebony/Jet is a tribute to the achievements of this remarkable American company.