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Deep in the heartland of the United Sentry States are the burning ruins of the Black City, a melting pot simmering with hostility as humans and Darklings struggle to rebuild their lives in the aftermath of a brutal and bloody war. A wall now divides the city separating the two races. Trapped on the wrong side of the wall is 16 year old hustler Ash Fisher, a half blood darkling who'll do whatever it takes to survive, including selling his addictive venom Haze to support his dying mother. When he meets Natalie, hatred soon turns to a love that could be punishable by death.
An important new ethnographic study of São Paulo’s favelas revealing the widespread use of race-based police repression in Brazil While Black Lives Matter still resonates in the United States, the movement has also become a potent rallying call worldwide, with harsh police tactics and repressive state policies often breaking racial lines. In The Anti-Black City, Jaime Amparo Alves delves into the dynamics of racial violence in Brazil, where poverty, unemployment, residential segregation, and a biased criminal justice system create urban conditions of racial precarity. The Anti-Black City provocatively offers race as a vital new lens through which to view violence and marginalization in the supposedly “raceless” São Paulo. Ironically, in a context in which racial ambiguity makes it difficult to identify who is black and who is white, racialized access to opportunities and violent police tactics establish hard racial boundaries through subjugation and death. Drawing on two years of ethnographic research in prisons and neighborhoods on the periphery of this mega-city, Alves documents the brutality of police tactics and the complexity of responses deployed by black residents, including self-help initiatives, public campaigns against police violence, ruthless gangs, and self-policing of communities. The Anti-Black City reveals the violent and racist ideologies that underlie state fantasies of order and urban peace in modern Brazil. Illustrating how “governing through death” has become the dominant means for managing and controlling ethnic populations in the neoliberal state, Alves shows that these tactics only lead to more marginalization, criminality, and violence. Ultimately, Alves’s work points to a need for a new approach to an intractable problem: how to govern populations and territories historically seen as “ungovernable.”
In Black City Cinema, Paula Massood shows how popular films reflected the massive social changes that resulted from the Great Migration of African Americans from the rural South to cities in the North, West, and Mid-West during the first three decades of the twentieth century. By the onset of the Depression, the Black population had become primarily urban, transforming individual lives as well as urban experience and culture.Massood probes into the relationship of place and time, showing how urban settings became an intrinsic element of African American film as Black people became more firmly rooted in urban spaces and more visible as historical and political subjects. Illuminating the intersections of film, history, politics, and urban discourse, she considers the chief genres of African American and Hollywood narrative film: the black cast musicals of the 1920s and the "race" films of the early sound era to blaxploitation and hood films, as well as the work of Spike Lee toward the end of the century. As it examines such a wide range of films over much of the twentieth century, this book offers a unique map of Black representations in film.
In this nuanced and groundbreaking history, Donna Murch argues that the Black Panther Party (BPP) started with a study group. Drawing on oral history and untapped archival sources, she explains how a relatively small city with a recent history of African
Ash must choose between saving the Darklings or saving Natalie.
A starkly realistic novel from nineteenth-century France captures the struggles of the working class through the eyes of a young metal worker who finds himself caught up in the labor unrest of the period as he idealistically attempts to start his own factory and falls in love with a woman who is sympathetic to the working class. Original.
While Washington, D.C., is still often referred to as "Chocolate City," it has undergone significant demographic, political, and economic change in the last decade. In D.C., no place represents this shift better than the H Street corridor. In this book, Brandi Thompson Summers documents D.C.'s shift to a "post-chocolate" cosmopolitan metropolis by charting H Street's economic and racial developments. In doing so, she offers a theoretical framework for understanding how blackness is aestheticized and deployed to organize landscapes and raise capital. Summers focuses on the continuing significance of blackness in a place like the nation's capital, how blackness contributes to our understanding of contemporary urbanization, and how it laid an important foundation for how Black people have been thought to exist in cities. Summers also analyzes how blackness—as a representation of diversity—is marketed to sell a progressive, "cool," and authentic experience of being in and moving through an urban center. Using a mix of participant observation, visual and media analysis, interviews, and archival research, Summers shows how blackness has become a prized and lucrative aesthetic that often excludes D.C.'s Black residents.
For more than sixteen hundred years, Nick Medea has followed and guarded the Gate that keeps the mortal realm and that of Feirie separate, seeking in vain absolution for the fatal errors he made when he slew the dragon. All that while, he has tried and failed to keep the woman he loves from dying over and over. Yet in the fifty years since the Night the Dragon Breathed over the city of Chicago, the Gate has not only remained fixed, but open to the trespasses of the Wyld, the darkest of the Feiriefolk. Not only does that mean an evil resurrected from Nick’s own past, but the reincarnation of his lost Cleolinda, a reincarnation destined once more to die. Nick must turn inward to that which he distrusts the most: the Dragon, the beast he slew when he was still only Saint George. He must turn to the monster residing in him, now a part of him...but ever seeking escape. The gang war brewing between Prohibition bootleggers may be the least of his concerns. If Nick cannot prevent an old evil from opening the way between realms...then not only might Chicago face a fate worse than the Great Fire, but so will the rest of the mortal realm. From the Trade Paperback edition.
"A historical urban fantasy set in Prohibition Chicago which combines action, mystery, and romance against a backdrop of gangland wars beset by threat of supernatural horror"--