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Weaving together personal stories, history, and analysis, Same Family, Different Colors explores the myriad ways skin-color politics affect family dynamics in the United States. Colorism and color bias—the preference for or presumed superiority of people based on the color of their skin—is a pervasive and damaging but rarely openly discussed phenomenon. In this unprecedented book, Lori L. Tharps explores the issue in African American, Latino, Asian American, and mixed-race families and communities by weaving together personal stories, history, and analysis. The result is a compelling portrait of the myriad ways skin-color politics affect family dynamics in the United States. Tharps, the mother of three mixed-race children with three distinct skin colors, uses her own family as a starting point to investigate how skin-color difference is dealt with. Her journey takes her across the country and into the lives of dozens of diverse individuals, all of whom have grappled with skin-color politics and speak candidly about experiences that sometimes scarred them. From a Latina woman who was told she couldn’t be in her best friend’s wedding photos because her dark skin would “spoil” the pictures, to a light-skinned African American man who spent his entire childhood “trying to be Black,” Tharps illuminates the complex and multifaceted ways that colorism affects our self-esteem and shapes our lives and relationships. Along with intimate and revealing stories, Tharps adds a historical overview and a contemporary cultural critique to contextualize how various communities and individuals navigate skin-color politics. Groundbreaking and urgent, Same Family, Different Colors is a solution-seeking journey to the heart of identity politics, so that this more subtle “cousin to racism,” in the author’s words, will be exposed and confronted.
'Every voice raised against racism chips away at its power. We can't afford to stay silent. This book is an attempt to speak' The book that sparked a national conversation. Exploring everything from eradicated black history to the inextricable link between class and race, Why I'm No Longer Talking to White People About Race is the essential handbook for anyone who wants to understand race relations in Britain today. THE NO.1 SUNDAY TIMES BESTSELLER WINNER OF THE BRITISH BOOK AWARDS NON-FICTION NARRATIVE BOOK OF THE YEAR 2018 FOYLES NON-FICTION BOOK OF THE YEAR BLACKWELL'S NON-FICTION BOOK OF THE YEAR WINNER OF THE JHALAK PRIZE LONGLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NON-FICTION LONGLISTED FOR THE ORWELL PRIZE SHORTLISTED FOR A BOOKS ARE MY BAG READERS AWARD
The New York Times best-selling book exploring the counterproductive reactions white people have when their assumptions about race are challenged, and how these reactions maintain racial inequality. In this “vital, necessary, and beautiful book” (Michael Eric Dyson), antiracist educator Robin DiAngelo deftly illuminates the phenomenon of white fragility and “allows us to understand racism as a practice not restricted to ‘bad people’ (Claudia Rankine). Referring to the defensive moves that white people make when challenged racially, white fragility is characterized by emotions such as anger, fear, and guilt, and by behaviors including argumentation and silence. These behaviors, in turn, function to reinstate white racial equilibrium and prevent any meaningful cross-racial dialogue. In this in-depth exploration, DiAngelo examines how white fragility develops, how it protects racial inequality, and what we can do to engage more constructively.
Many writers avoid creating characters of different ethnic backgrounds than their own out of fear that they might get it wrong. To address this fear, Nisi Shawl and Cynthia Ward collaborated to develop a workshop that addresses these problems with the aim of both increasing writers skill and sensitivity in portraying difference in their fiction as well as allaying their anxieties about getting it wrong. Writing the Other: A Practical Approach is the manual that grew out of their workshop. It discusses basic aspects of characterization and offers elementary techniques, practical exercises, and examples for helping writers create richer and more accurate characters with differences.
White Like Her: My Family’s Story of Race and Racial Passing is the story of Gail Lukasik’s mother’s “passing,” Gail’s struggle with the shame of her mother’s choice, and her subsequent journey of self-discovery and redemption. In the historical context of the Jim Crow South, Gail explores her mother’s decision to pass, how she hid her secret even from her own husband, and the price she paid for choosing whiteness. Haunted by her mother’s fear and shame, Gail embarks on a quest to uncover her mother’s racial lineage, tracing her family back to eighteenth-century colonial Louisiana. In coming to terms with her decision to publicly out her mother, Gail changed how she looks at race and heritage. With a foreword written by Kenyatta Berry, host of PBS's Genealogy Roadshow, this unique and fascinating story of coming to terms with oneself breaks down barriers.
An experimental approach to the study and teaching of color is comprised of exercises in seeing color action and feeling color relatedness before arriving at color theory.
Predominantly white casting in ballet has led many to wonder, "Where are all the black swans?" This book sheds light on female dancers of color, including thirteen primary accounts from African American, Latina, and Asian women in ballet. Topics covered include dance training, casting (and color-casting), employment, discrimination, implicit bias, success, and achievement. Dancers discuss in detail the obstacles many dancers of color face during training; considerations facing some women of color when seeking employment; performance challenges related to company work; and the teachers, parents, and community members that paved a way and widened spaces for them. Through the stories and experiences of the women featured here, models of inclusive practices and allyship are shared. The book culminates with a section providing teaching tools to support inclusive learning spaces.
* Finalist for the National Book Award in Poetry * * Winner of the National Book Critics Circle Award in Poetry * Finalist for the National Book Critics Circle Award in Criticism * Winner of the NAACP Image Award * Winner of the L.A. Times Book Prize * Winner of the PEN Open Book Award * ONE OF THE BEST BOOKS OF THE YEAR: The New Yorker, Boston Globe, The Atlantic, BuzzFeed, NPR. Los Angeles Times, Publishers Weekly, Slate, Time Out New York, Vulture, Refinery 29, and many more . . . A provocative meditation on race, Claudia Rankine's long-awaited follow up to her groundbreaking book Don't Let Me Be Lonely: An American Lyric. Claudia Rankine's bold new book recounts mounting racial aggressions in ongoing encounters in twenty-first-century daily life and in the media. Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV-everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.
Portraits from rural Texas.