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"A well-written, powerful examination of America's racial legacies"--Kirkus Reviews "Artress Bethany White has written a beautiful book that shimmers with bravery on every page. In tackling race, she interrogates and informs, startles and prods, and implicates us all--forcing us to see ourselves through multi-faceted prisms of American identity. Using personal and familial narratives from her own 'tangled racial threads' as our intimate guide, White helps us understand this traumatized cultural moment by weaving together harsh truths with poetic language and fierce insight. We need this book right now. White shares an astute pedagogy here, one that acknowledges our collective mourning and provides a prescriptive for our collective healing. I want everyone to read this brilliant collection."--Bridgett M. Davis, author of The World According To Fannie Davis: My Mother's Life In The Detroit Numbers "In this volume of over a dozen essays, the author--whose award-winning poetry has appeared in multiple anthologies, collections, and journals--blends autobiography with biting social and political commentary on themes centered on racial trauma, sexuality, gender, and class."--Kirkus Reviews "Naming the beast is the first part of the battle. SURVIVOR'S GUILT: ESSAYS ON RACE AND AMERICAN IDENTITY is a reader's guide to shifting from silent abuser to empathetic ally."--Independent Book Review "Talk about the right time to find a story . . . My copy arrived two months after Breonna Taylor was shot in her bed, three weeks after the first arrests for the killing of Ahmaud Arbery, four days after the world watched George Floyd's murder on video; in other words, right when the world finally seemed to wake up to the reality of race in America."--Mom Egg Review "SURVIVOR'S GUILT is an urgent and honest look at one of the most important topics of our time. White is an eloquent storyteller and a deep thinker. She uses her personal life, family history, and teaching experience as a springboard for a wide-ranging discussion of race in America today. These essays are unflinching yet ultimately hopeful. This is one of the wisest books I have read in a long time."--Sharon Harrigan, author of Playing With Dynamite "In SURVIVOR'S GUILT: ESSAYS ON RACE AND AMERICAN IDENTITY, Artress Bethany White offers her personal take on some of the most important issues facing the country today. But rather than tackle political policy or electoral politics, White opens a family album and reflects upon what the nation's failure to reckon with its history has meant for her ancestors' and her past, as well as her own, her husband's, and their children's present and future. If you have been looking for a heartfelt, well-informed, but gentle entry into contemporary thinking about racial concerns--from the legacy of lynching, to the challenges of interracial marriage, to the complexities of class within the black community--you have found your guide."--Evie Shockley, author of Semiautomatic Literary Nonfiction. African & African American Studies. Essays. Women's Studies.
This carefully and generously curated mosaic of essays, letters, and poems reveals the profound impact that poet Yusef Komunyakaa has had on poets, educators, and readers worldwide. The anthology brings together creative and critical offerings from fellow poets, former students, literary entities, and other admirers. There are emerging and established voices—from previously unpublished writers to Pulitzer Prize winning poets. Together these pieces honor one of the most influential writers of the last half century, one, it turns out, who is as beloved for his teaching as he is celebrated for his creative work. Contributors include Terrance Hayes, Sharon Olds, Carolyn Forché, Toi Derricotte, and Martín Espada, among others. Dear Yusef affirms Komunyakaa's transformative influence, showcasing how his mentoring has ignited creativity, nurtured passion, and fostered a sense of belonging among countless individuals. Through the artistry of these testimonials, we witness the transformative power of poetry and the enduring legacy of a true literary icon. Please note that the hardcover edition is unjacketed.
An anthology of a different sort, this volume presents a representative sample of contemporary American poems in 2023, with a road map of their origins. Bringing a diversity of styles and sensibilities, 62 poets from across the United States--some well known, some up-and-coming--illuminate their craft. Each poet contributes one poem, accompanied by an essay discussing their creative process and how the verse came to fruition.
"With unflinching honesty, E. Dolores Johnson shares an enthralling story of identity, independence, family, and love. This timely and beautifully written memoir ends on a complicated yet hopeful note, something we need in this time of racial strife." —De'Shawn Charles Winslow, author of In West Mills Say I'm Dead is the true story of family secrets, separation, courage, and transformation through five generations of interracial relationships. Fearful of prison time—or lynching—for violating Indiana's antimiscegenation laws in the 1940s, E. Dolores Johnson's Black father and White mother fled Indianapolis to secretly marry in Buffalo, New York. When Johnson was born, social norms and her government-issued birth certificate said she was Negro, nullifying her mother's white blood in her identity. Later, as a Harvard-educated business executive feeling too far from her black roots, she searched her father's black genealogy. But in the process, Johnson suddenly realized that her mother's whole white family was—and always had been—missing. When she began to pry, her mother's 36-year-old secret spilled out. Her mother had simply vanished from Indiana, evading an FBI and police search that had ended with the conclusion that she had been the victim of foul play.
In Racial Melancholia, Racial Dissociation critic David L. Eng and psychotherapist Shinhee Han draw on case histories from the mid-1990s to the present to explore the social and psychic predicaments of Asian American young adults from Generation X to Generation Y. Combining critical race theory with several strands of psychoanalytic thought, they develop the concepts of racial melancholia and racial dissociation to investigate changing processes of loss associated with immigration, displacement, diaspora, and assimilation. These case studies of first- and second-generation Asian Americans deal with a range of difficulties, from depression, suicide, and the politics of coming out to broader issues of the model minority stereotype, transnational adoption, parachute children, colorblind discourses in the United States, and the rise of Asia under globalization. Throughout, Eng and Han link psychoanalysis to larger structural and historical phenomena, illuminating how the study of psychic processes of individuals can inform investigations of race, sexuality, and immigration while creating a more sustained conversation about the social lives of Asian Americans and Asians in the diaspora.
'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
White identity is in ferment. White, European Americans living in the United States will soon share an unprecedented experience of slipping below 50% of the population. The impending demographic shifts are already felt in most urban centers and the effect is a national backlash of hyper-mobilized political, and sometimes violent, activism with a stated aim that is simultaneously vague and deadly clear: 'to take our country back.' Meanwhile the spectre of 'minority status' draws closer, and the material advantages of being born white are eroding. This is the political and cultural reality tackled by Linda Martín Alcoff in The Future of Whiteness. She argues that whiteness is here to stay, at least for a while, but that half of whites have given up on ideas of white supremacy, and the shared public, material culture is more integrated than ever. More and more, whites are becoming aware of how they appear to non-whites, both at home and abroad, and this is having profound effects on white identity in North America. The young generation of whites today, as well as all those who follow, will have never known a country in which they could take white identity as the unchallenged default that dominates the political, economic and cultural leadership. Change is on the horizon, and the most important battleground is among white people themselves. The Future of Whiteness makes no predictions but astutely analyzes the present reaction and evaluates the current signs of turmoil. Beautifully written and cogently argued, the book looks set to spark debate in the field and to illuminate an important area of racial politics.
In the tradition of Reflections of an Affirmative Action Baby, The Alchemy of Race and Rights, and The Sweeter the Juice, Notes of a White Black Woman explores the meaning of race in the United States, the power of racial categories in our lives, and the personal experience of being a black professional in an overwhelmingly white world.
In this thought-provoking volume, David R. Roediger has brought together some of the most important black writers throughout history to explore the question: What does it really mean to be white in America? From folktales and slave narratives to contemporary essays, poetry, and fiction, black writers have long been among America's keenest students of white consciousness and white behavior, but until now much of this writing has been ignored. Black on White reverses this trend by presenting the work of more than fifty major figures, including James Baldwin, Derrick Bell, Ralph Ellison, W.E.B. Du Bois, bell hooks, Toni Morrison, and Alice Walker to take a closer look at the many meanings of whiteness in our society. Rich in irony, artistry, passion, and common sense, these reflections on what Langston Hughes called "the ways of white folks" illustrate how whiteness as a racial identity derives its meaning not as a biological category but as a social construct designed to uphold racial inequality. Powerful and compelling, Black on White provides a much-needed perspective that is sure to have a major impact on the study of race and race relations in America.
“A vibrant memoir of race, violence, family, and manhood…a virtuosic wail of a book” (The Boston Globe), Survival Math calculates how award-winning author Mitchell S. Jackson survived the Portland, Oregon, of his youth. This “spellbinding” (NPR) book explores gangs and guns, near-death experiences, sex work, masculinity, composite fathers, the concept of “hustle,” and the destructive power of addiction—all framed within the story of Mitchell Jackson, his family, and his community. Lauded for its breathtaking pace, its tender portrayals, its stark candor, and its luminous style, Survival Math reveals on every page the searching intellect and originality of its author. The primary narrative, focused on understanding the antecedents of Jackson’s family’s experience, is complemented by survivor files, which feature photographs and riveting short narratives of several of Jackson’s male relatives. “A vulnerable, sobering look at Jackson’s life and beyond, in all its tragedies, burdens, and faults” (San Francisco Chronicle), the sum of Survival Math’s parts is a highly original whole, one that reflects on the exigencies—over generations—that have shaped the lives of so many disenfranchised Americans. “Both poetic and brutally honest” (Salon), Mitchell S. Jackson’s nonfiction debut is as essential as it is beautiful, as real as it is artful, a singular achievement, not to be missed.