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From high school dropout and convicted drug dealer, to successful entertainment industry executive, eventual law school graduate, and college professor, this is an explosively emotional inspirational journey exploring the ups & downs of growing up bi-racial in America. Born just a few years after the Supreme Court made discrimination against interracial marriage unconstitutional, the author takes you from his time as an impoverished youth, living in a predominantly white neighborhood, to his move to the inner city and predominately black school system. From being called 'nigger' in the white neighborhood to fighting daily for being attacked and called 'white boy' in the black neighborhoods. From the brutal murders of friends and family members, to providing an insider's look at the author's time in the entertainment industry, working on projects that went on to win Grammy Awards and garner numerous Gold, Platinum and Diamond records, through all the highs and lows of a life full of extreme challenges and inspirational triumphs. REVIEWS & PRESS "Simply brilliant"- Nancy Bonilla, Cabrera Press "The must read book of the year!" - M.J. Brown "Stunningly blatant and non-apologetic, this is a must read for anyone that is searching to find understanding in our current racially divisive times. For the first time, I feel as if I have a real understanding of the struggles associated with being bi-racial in America..." - KnowledgeOfself.online Comparable works 'The Autobiography of Malcom X' by Alex Haley 'Makes Me Wanna Holler' by Nathan McCall 'Manchild in the Promised Land' by Claude Brown 'Nigger' by Dick Gregory
Every once in a while, you come across a great novel with a classic story to tell. White Nigger: A Tale of Bigots & Bullies is just such a book. Ten-year-old River is a white girl whose half-brother and sister were fathered by a black man named Ivan. River's mother, Alice, has not been home for over three weeks, when a man accosts River. Ivan comes to her rescue and bloodies the man's nose. Afraid for the family's safety, Ivan packs all three children into his old truck. They travel to Owls Nest, Iowa, where they find a deserted cabin and became squatters. While some things are now better for River, she struggles to feel comfortable with Ivan, the black man who has assumed the role of her father. Her worries increase when the school bully, RayDon, begins to taunt her with the words, white nigger. The elderly woman who owns their cabin, Elizabeth Morningside, is a prominent Owls Nest citizen and a witness to River's heckling. Elizabeth hires Ivan to restore her mansion back to its original glory. Their relationship grows, but ugliness returns when someone scratches the words nigger lover into the door of Elizabeth's white Edsel convertible.When a child in the community turns up dead, vigilantes attack Ivan, but are stopped by the sheriff. Racial tensions escalate, even as River learns to accept comfort from Ivan, and they share a defining father/daughter moment. About the Author: Now retired, Beverly J. Scott lives in Iowa, and is working on her next book. Publisher's website: http: //www.strategicpublishinggroup.com/title/WhiteNigger.htm
Randall Kennedy takes on not just a word, but our laws, attitudes, and culture with bracing courage and intelligence—with a range of reference that extends from the Jim Crow south to Chris Rock routines and the O. J. Simpson trial. It’s “the nuclear bomb of racial epithets,” a word that whites have employed to wound and degrade African Americans for three centuries. Paradoxically, among many Black people it has become a term of affection and even empowerment. The word, of course, is nigger, and in this candid, lucidly argued book the distinguished legal scholar Randall Kennedy traces its origins, maps its multifarious connotations, and explores the controversies that rage around it. Should Blacks be able to use nigger in ways forbidden to others? Should the law treat it as a provocation that reduces the culpability of those who respond to it violently? Should it cost a person his job, or a book like Huckleberry Finn its place on library shelves?
'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
Recovers the careers of four US women serial writers, and establishes a new archive for American literary studies.
The first book to help well-meaning white people understand and address their unique brand of unintentional and unconscious racism.
An engrossing autobiographical exploration of black masculinity as a mode of racial and verbal performance. In Your Average Nigga, Vershawn Ashanti Young disputes the belief that speaking Standard English and giving up Black English Vernacular helps black students succeed academically. Young argues that this assumption not only exaggerates the differences between two compatible varieties of English but forces black males to choose between an education and their masculinity, by choosing to act either white or black. As one would expect from a scholar who is subject to the very circumstances he studies, Young shares his own experiences as he exposes the factors that make black racial identity irreconcilable with literacy for blacks, especially black males. Drawing on a range of interdisciplinary scholarship in performance theory and African American literary and cultural studies, Young shows that the linguistic conflict that exists between black and white language styles harms black students from the inner city the most. If these students choose to speak Standard English they risk alienating themselves from their families and communities, and if they choose to retain their customary speech and behavior they may isolate themselves from mainstream society. Young argues that this conflict leaves blacks in the impossible position of either trying to be white or forever struggling to prove that they are black enough. For men, this also becomes an endless struggle to prove that they are masculine enough. Young calls this constant effort to display proper masculine and racial identity the burden of racial performance. Ultimately, Young argues that racial and verbal performances are a burden because they cannot reduce the causes or effects of racism, nor can they denaturalize supposedly fixed identity categories, as many theorists contend. On the contrary, racial and verbal performances only reinscribe the essentialism that they are believed to subvert. Scholars and teachers of rhetoric, performance studies, and African American studies will enjoy this insightful volume.
The acclaimed author’s first collection of stories “Gayl Jones’s work represents a watershed in American literature. From a literary standpoint, her form is impeccable . . . and as a Black woman writer, her truth-telling, filled with beauty, tragedy, humor, and incisiveness, is unmatched.” —Imani Perry Gayl Jones has been described as one of the great literary writers of the 20th century and was recently a finalist for both the Pulitzer Prize and The National Book Award. This collection of short fiction was her third book, originally edited and published by Toni Morrison in 1977, and is reissued now alongside her second collection, BUTTER, in paperback for the first time. The collection contains twelve provocative tales that explore the emotional and mental terrain of a diverse cast of characters, from the innocent to the insane. In each, Jones displays her unflinching ability to dive into the most treacherous of psyches and circumstances: the title story examines the identity and relationship conundrums of a black man who can pass for white, earning him the name “White Rat” as an infant; “The Women” follows a girl whose mother brings a line of female lovers to live in their home; “Jevata” details eighteen-year-old Freddy’s relationship with the fifty-year-old title character; “The Coke Factory” tracks the thoughts of a mentally handicapped adolescent abandoned by his mother; and “Asylum” focuses on a woman having a nervous breakdown, trying to protect her dignity and her private parts as she enters an institution. In uncompromising prose, and dialect that veers from northern, educated tongues to down-home southern colloquialisms, Jones illuminates lives that society ignores, moving them to center stage.
Look, a White! returns the problem of whiteness to white people. Prompted by Eric Holder's charge, that as Americans, we are cowards when it comes to discussing the issue of race, noted philosopher George Yancy's essays map out a structure of whiteness. He considers whiteness within the context of racial embodiment, film, pedagogy, colonialism, its "danger," and its position within the work of specific writers. Identifying the embedded and opaque ways white power and privilege operate, Yancy argues that the Black countergaze can function as a "gift" to whites in terms of seeing their own whiteness more effectively. Throughout Look, a White! Yancy pays special attention to the impact of whiteness on individuals, as well as on how the structures of whiteness limit the capacity of social actors to completely untangle the way whiteness operates, thus preventing the erasure of racism in social life.