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First published: London: Martin Secker & Warburg, 1956.
In this #1 New York Times bestseller, Ijeoma Oluo offers a revelatory examination of race in America Protests against racial injustice and white supremacy have galvanized millions around the world. The stakes for transformative conversations about race could not be higher. Still, the task ahead seems daunting, and it’s hard to know where to start. How do you tell your boss her jokes are racist? Why did your sister-in-law hang up on you when you had questions about police reform? How do you explain white privilege to your white, privileged friend? In So You Want to Talk About Race, Ijeoma Oluo guides readers of all races through subjects ranging from police brutality and cultural appropriation to the model minority myth in an attempt to make the seemingly impossible possible: honest conversations about race, and about how racism infects every aspect of American life. "Simply put: Ijeoma Oluo is a necessary voice and intellectual for these times, and any time, truth be told." ―Phoebe Robinson, New York Times bestselling author of You Can't Touch My Hair
In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York's Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest. Whitewalling: Art, Race & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak? Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.
Frank, fearless letters from poets of all colors, genders, classes about the material conditions under which their art is made.
Winner of the Man Booker Prize Winner of the National Book Critics Circle Award in Fiction Winner of the John Dos Passos Prize for Literature New York Times Bestseller Los Angeles Times Bestseller Named One of the 10 Best Books of the Year by The New York Times Book Review Named a Best Book of the Year by Newsweek, The Denver Post, BuzzFeed, Kirkus Reviews, and Publishers Weekly Named a "Must-Read" by Flavorwire and New York Magazine's "Vulture" Blog A biting satire about a young man's isolated upbringing and the race trial that sends him to the Supreme Court, Paul Beatty's The Sellout showcases a comic genius at the top of his game. It challenges the sacred tenets of the United States Constitution, urban life, the civil rights movement, the father-son relationship, and the holy grail of racial equality—the black Chinese restaurant. Born in the "agrarian ghetto" of Dickens—on the southern outskirts of Los Angeles—the narrator of The Sellout resigns himself to the fate of lower-middle-class Californians: "I'd die in the same bedroom I'd grown up in, looking up at the cracks in the stucco ceiling that've been there since '68 quake." Raised by a single father, a controversial sociologist, he spent his childhood as the subject in racially charged psychological studies. He is led to believe that his father's pioneering work will result in a memoir that will solve his family's financial woes. But when his father is killed in a police shoot-out, he realizes there never was a memoir. All that's left is the bill for a drive-thru funeral. Fueled by this deceit and the general disrepair of his hometown, the narrator sets out to right another wrong: Dickens has literally been removed from the map to save California from further embarrassment. Enlisting the help of the town's most famous resident—the last surviving Little Rascal, Hominy Jenkins—he initiates the most outrageous action conceivable: reinstating slavery and segregating the local high school, which lands him in the Supreme Court.
Edgar and Annie plan a clever, hideously dangerous million-dollar robbery. Target--a thoroughbred race track on Sweepstakes Day.
'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
Told through the eyes of the grandmotherly Sister Mary Bradley, this is a heartwarming description of life in Harlem.
“A portrait of growing up in America, and a portrait of family, that pulls off the feat of being both intimately specific and deeply universal at the same time. I adored this book.”—Jonny Sun “[A] high-spirited graphical memoir . . . Gharib’s wisdom about the power and limits of racial identity is evident in the way she draws.”—NPR WINNER OF THE ARAB AMERICAN BOOK AWARD • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR • The New York Public Library • Kirkus Reviews I Was Their American Dream is at once a coming-of-age story and a reminder of the thousands of immigrants who come to America in search for a better life for themselves and their children. The daughter of parents with unfulfilled dreams themselves, Malaka navigated her childhood chasing her parents' ideals, learning to code-switch between her family's Filipino and Egyptian customs, adapting to white culture to fit in, crushing on skater boys, and trying to understand the tension between holding onto cultural values and trying to be an all-American kid. Malaka Gharib's triumphant graphic memoir brings to life her teenage antics and illuminates earnest questions about identity and culture, while providing thoughtful insight into the lives of modern immigrants and the generation of millennial children they raised. Malaka's story is a heartfelt tribute to the American immigrants who have invested their future in the promise of the American dream. Praise for I Was Their American Dream “In this time when immigration is such a hot topic, Malaka Gharib puts an engaging human face on the issue. . . . The push and pull first-generation kids feel is portrayed with humor and love, especially humor. . . . Gharib pokes fun at all of the cultures she lives in, able to see each of them with an outsider’s wry eye, while appreciating them with an insider’s close experience. . . . The question of ‘What are you?’ has never been answered with so much charm.”—Marissa Moss, New York Journal of Books “Forthright and funny, Gharib fiercely claims her own American dream.”—Booklist “Thoughtful and relatable, this touching account should be shared across generations.”– Library Journal “This charming graphic memoir riffs on the joys and challenges of developing a unique ethnic identity.”– Publishers Weekly
Do you feel prepared to initiate and facilitate meaningful, productive dialogues about race in your classroom? Are you looking for practical strategies to engage with your students? Inspired by Frederick Douglass's abolitionist call to action, "it is not light that is needed, but fire" Matthew Kay has spent his career learning how to lead students through the most difficult race conversations. Kay not only makes the case that high school classrooms are one of the best places to have those conversations, but he also offers a method for getting them right, providing candid guidance on: How to recognize the difference between meaningful and inconsequential race conversations. How to build conversational "safe spaces," not merely declare them. How to infuse race conversations with urgency and purpose. How to thrive in the face of unexpected challenges. How administrators might equip teachers to thoughtfully engage in these conversations. With the right blend of reflection and humility, Kay asserts, teachers can make school one of the best venues for young people to discuss race.