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A noted Black woman journalist recounts her experiences as an outsider in the newsroom of the Washington Post in the late 1980s.
In the last decade of the 20th century, during a time when African Americans were starting to take inventory of the gains of the civil rights movement and its effects on the lives of black professionals in the public sphere, the memoirs of several journalists were published, a number of which became national bestsellers. African American Journalists examines select autobiographies written by African American journalists in order to explore the relationship between race, class, gender, and journalism practice. At the heart of this study is the contention that contemporary memoirs written by African American journalists are quasi-political documents_manifestos written in reaction to and against the forces of institutionalized racism in the newsroom. The memoirs featured in this study include Jill Nelson's Volunteer Slavery: My Authentic Negro Experience, Nathan McCall's Makes Me Wanna Holler: A Young Black Man in America, Jake Lamar's Bourgeois Blues: An American Memoir, and Patricia Raybon's My First White Friend: Confessions on Race, Love, and Forgiveness. The exploration of these works increases our understanding of the problems that members of other underrepresented groups may face in the workplace.
Using letters, diaries, and regimental newspapers to take us inside the minds of Civil War soldiers—black and white, Northern and Southern—as they fought and marched across a divided country, this unprecedented account is “an essential contribution to our understanding of slavery and the Civil War" (The Philadelphia Inquirer). In this unprecedented account, Chandra Manning With stunning poise and narrative verve, Manning explores how the Union and Confederate soldiers came to identify slavery as the central issue of the war and what that meant for a tumultuous nation. This is a brilliant and eye-opening debut and an invaluable addition to our understanding of the Civil War as it has never been rendered before.
The Crisis, founded by W.E.B. Du Bois as the official publication of the NAACP, is a journal of civil rights, history, politics, and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color. For nearly 100 years, The Crisis has been the magazine of opinion and thought leaders, decision makers, peacemakers and justice seekers. It has chronicled, informed, educated, entertained and, in many instances, set the economic, political and social agenda for our nation and its multi-ethnic citizens.
An original and valuable assessment of American political theater in the 1960s and 1970s
“A robustly researched and smoothly written overview of the many challenges confronting our devotion to fossil fuels” from the author of Tar Sands (Quill & Quire). Ancient civilizations relied on shackled human muscle. It took the energy of slaves to plant crops, clothe emperors, and build cities. Nineteenth-century slaveholders viewed critics as hostilely as oil companies and governments now regard environmentalists. Yet the abolition movement had an invisible ally: coal and oil. As the world’s most versatile workers, fossil fuels replenished slavery’s ranks with combustion engines and other labor-saving tools. Since then, cheap oil has transformed politics, economics, science, agriculture, and even our concept of happiness. Many North Americans today live as extravagantly as Caribbean plantation owners. We feel entitled to surplus energy and rationalize inequality, even barbarity, to get it. But endless growth is an illusion. In this provocative book, Andrew Nikiforuk, winner of the Rachel Carson Environment Book Award, argues that what we need is a radical emancipation movement that ends our master-and-slave approach to energy. We must learn to use energy on a moral, just, and truly human scale. Published in Partnership with the David Suzuki Institute “In his cautionary tale about the evils of oil . . . Nikiforuk makes his case for impending doom if we don’t mend our energy-spending ways.” —The Star “In this cogently argued book, Andrew Nikiforuk deploys a powerful metaphor. Oil dependency, he writes, is a modern form of slavery—and it’s time for a global abolition movement.” —Taras Grescoe, author of Shanghai Grand “A startling critique that should rouse us from our pipe dream of endless plenty.” —Ronald Wright, author of On Fiji Islands
Longlisted for the National Book Award for Nonfiction “There Kevin Young goes again, giving us books we greatly need, cleverly disguised as books we merely want. Unexpectedly essential.”—Marlon James Award-winning poet and critic Kevin Young tours us through a rogue’s gallery of hoaxers, plagiarists, forgers, and fakers—from the humbug of P. T. Barnum and Edgar Allan Poe to the unrepentant bunk of JT LeRoy and Donald J. Trump. Bunk traces the history of the hoax as a peculiarly American phenomenon, examining what motivates hucksters and makes the rest of us so gullible. Disturbingly, Young finds that fakery is woven from stereotype and suspicion, race being the most insidious American hoax of all. He chronicles how Barnum came to fame by displaying figures like Joice Heth, a black woman whom he pretended was the 161-year-old nursemaid to George Washington, and What Is It?, an African American man Barnum professed was a newly discovered missing link in evolution. Bunk then turns to the hoaxing of history and the ways that forgers, plagiarists, and journalistic fakers invent backstories and falsehoods to sell us lies about themselves and about the world in our own time, from pretend Native Americans Grey Owl and Nasdijj to the deadly imposture of Clark Rockefeller, from the made-up memoirs of James Frey to the identity theft of Rachel Dolezal. In this brilliant and timely work, Young asks what it means to live in a post-factual world of “truthiness” where everything is up for interpretation and everyone is subject to a pervasive cynicism that damages our ideas of reality, fact, and art.
Explores how the suffering of African American women has been minimized and obscured in U.S. culture.