A long-forgotten Black abolitionist who liberated captive workers by the wagonload, brilliantly satirized slaveholders, and gave the underground railroad its name.

Thomas Smallwood was a shoemaker by day and an organizer of mass escapes from slavery by night. Twelve years after purchasing his freedom from slavery, Smallwood took to the press and, over a 16-month stretch starting in 1842, pseudonymously published newspaper dispatches ridiculing and excoriating enslavers by name and offering sobering reflections on the depravity of slavery. With the pen that Smallwood called his “lash,” he leveraged mockery to flip the oppressive racial power structure of America. These dispatches, in which Smallwood was the first to use "underground railroad" in print, are the only accounts of escapes to be published in real time, imbuing Smallwood’s subversive wit with urgency and defiance. His 1851 memoir is prescient on the United States' tormented entanglement with race.

The instant New York Times bestseller and companion book to the PBS series.

“Absolutely brilliant . . . A necessary and moving work.” —Eddie S. Glaude, Jr., author of Begin Again

“Engaging. . . . In Gates’s telling, the Black church shines bright even as the nation itself moves uncertainly through the gloaming, seeking justice on earth—as it is in heaven.” —Jon Meacham, New York Times Book Review

From the New York Times bestselling author of Stony the Road and The Black Box,and one of our most important voices on the African American experience, comes a powerful new history of the Black church as a foundation of Black life and a driving force in the larger freedom struggle in America.

For the young Henry Louis Gates, Jr., growing up in a small, residentially segregated West Virginia town, the church was a center of gravity—an intimate place where voices rose up in song and neighbors gathered to celebrate life's blessings and offer comfort amid its trials and tribulations. In this tender and expansive reckoning with the meaning of the Black Church in America, Gates takes us on a journey spanning more than five centuries, from the intersection of Christianity and the transatlantic slave trade to today’s political landscape. At road’s end, and after Gates’s distinctive meditation on the churches of his childhood, we emerge with a new understanding of the importance of African American religion to the larger national narrative—as a center of resistance to slavery and white supremacy, as a magnet for political mobilization, as an incubator of musical and oratorical talent that would transform the culture, and as a crucible for working through the Black community’s most critical personal and social issues.

In a country that has historically afforded its citizens from the African diaspora tragically few safe spaces, the Black Church has always been more than a sanctuary. This fact was never lost on white supremacists: from the earliest days of slavery, when enslaved people were allowed to worship at all, their meetinghouses were subject to surveillance and destruction. Long after slavery’s formal eradication, church burnings and bombings by anti-Black racists continued, a hallmark of the violent effort to suppress the African American struggle for equality. The past often isn’t even past—Dylann Roof committed his slaughter in the Mother Emanuel AME Church 193 years after it was first burned down by white citizens of Charleston, South Carolina, following a thwarted slave rebellion.

But as Gates brilliantly shows, the Black church has never been only one thing. Its story lies at the heart of the Black political struggle, and it has produced many of the Black community’s most notable leaders. At the same time, some churches and denominations have eschewed political engagement and exemplified practices of exclusion and intolerance that have caused polarization and pain. Those tensions remain today, as a rising generation demands freedom and dignity for all within and beyond their communities, regardless of race, sex, or gender. Still, as a source of faith and refuge, spiritual sustenance and struggle against society’s darkest forces, the Black Church has been central, as this enthralling history makes vividly clear.

In a coming-of-age story as enchantingly vivid and ribald as anything Mark Twain or Zora Neale Hurston, Henry Louis Gates, Jr., recounts his childhood in the mill town of Piedmont, West Virginia, in the 1950s and 1960s and ushers readers into a gossip, of lye-and-mashed-potato “processes,” and of slyly stubborn resistance to the indignities of segregation.
 
A winner of the Chicago Tribune’s Heartland Award and the Lillian Smith Prize, Colored People is a pungent and poignant masterpiece of recollection, a work that extends and deepens our sense of African American history even as it entrances us with its bravura storytelling

Mic check! Learn your opposites with Biggie Smalls in the Legends of Hip-Hop board book series.

In this accessible series perfectly crafted for babies (and adult fans), music producer Pen Ken and 3x Emmy Award–nominated animation director Saxton Moore introduce mini emcees to some of hip-hop’s biggest and brightest luminaries with fun facts about each rapper, organized by a teachable concept.

In this book, children will meet Biggie and learn all about opposites!

Check out other books in the series, including Legends of Hip-Hop: 2Pac and Legends of Hip-Hop: Queen Latifah.