Sixty-one years ago I, a young white woman, married a Black man and together we had two children. Raising them (and then watching my biracial children grow to maturity) started my career, professionally and personally, as an anti-racism activist and scholar. They also caused me to question “race”: how did this myth come to be accepted as reality? How could people who were segregated as Negro, as my children were called in the 1960s, have come out of my body, called “white”? As a writer and avid reader, I am fascinated by every aspect of “racial identity.”
A memoir by a young biracial woman who travels to Israel, Jamaica, Ethiopia, Ghana, and the U.S. South, searching for her own identity.
The pleasure in the memoir comes from her journey. She is a good storyteller and takes us inside her often uncomfortable encounters with folks she has romanticized as being the “real” Black folks. Raboteau discovers, after searching for ten years all over the world, that rather like Dorothy in The Wizard of Oz, her true home lies within.
One of the things I loved about the book was her well-told conversations and visits with people in countries I knew little about. The book was the winner of American Book Award.
A decade in the making, Emily Raboteau’s Searching for Zion takes readers around the world on an unexpected adventure of faith. Both one woman’s quest for a place to call “home” and an investigation into a people’s search for the Promised Land, this landmark work of creative nonfiction is a trenchant inquiry into contemporary and historical ethnic displacement. At the age of twenty-three, award-winning writer Emily Raboteau traveled to Israel to visit her childhood best friend. While her friend appeared to have found a place to belong, Raboteau could not yet say the same for herself. As a biracial woman…
First a memory from my twelve years as a high school teacher: One day one of my ninth-grade history students remarked, “You are a nice guy Mr. Mayer. You can’t help it if you teach a boring subject.” That comment energized me, pushing me to show my students just how exciting the discipline of history was. I wanted my students to come to know historical actors, to hear their voices, and to feel their humanity. I then took that same project into my twenty-nine years as a teacher educator and finally into my life as a writer of historical non-fiction for young people.
Young people need to know that they are a part of history. I believe this with all my heart and so does Ellen Levine.
In Freedom’s Children the words fly as young African Americans describe their ugly experiences growing up in the segregated South and then their exhilarating involvement in major civil rights events including the Montgomery Bus Boycott, the Birmingham Movement, and the Selma voting rights campaign.
Ellen Levine travelled south and interviewed many, capturing these riveting stories. And I include the voices of some of these amazing young people in a book I wrote about the Birmingham marches. Readers of both books will see the vital role young people played in the civil rights movement.
In this inspiring collection of true stories, thirty African-Americans who were children or teenagers in the 1950s and 1960s talk about what it was like for them to fight segregation in the South-to sit in an all-white restaurant and demand to be served, to refuse to give up a seat at the front of the bus, to be among the first to integrate the public schools, and to face violence, arrest, and even death for the cause of freedom.
"Thrilling...Nothing short of wonderful."-The New York Times
Awards:
( A School Library Journal Best Book of the Year ( A Booklist…
As an African speculative fiction writer who had long hoped to see the development of African speculative fiction being embraced by the larger SFF community, it was a joy to see all these anthologies showcasing the works of Africans and platforming them for a larger audience to see. And it's been a joy as well to contribute to this growth both as an award-winning writer and editor of African speculative short fiction.
It's the first of its kind, the first installment in a line of Year's Best African Speculative Fiction anthologies meant to spotlight the works of African writers and writers of African descent. Year's Best anthologies have been a genre thing for over 5 decades. This is an important installment in the development of African speculative short fiction. It was published by the editor as well in a small press he founded, Jembefola Press. The anthology made him the first African editor to be a Hugo award best editor finalist and a Locus award best editor and best anthology finalist.
“You are bound to be wonderstruck.”—Lightspeed Magazine “A must-read.”—Locus Magazine “Highly recommended.”—The British Fantasy Society
The world's first ever “year’s best” anthology of African speculative fiction. Edited by Oghenechovwe Donald Ekpeki, The Year’s Best African Speculative Fiction collects twenty-nine stories by twenty-five writers, which the press describes as “some of the most exciting voices, old and new, from Africa and the diaspora, published in the 2020 year.”
The anthology includes stories from Somto O. Ihezue, Pemi Aguda, Russell Nichols, Tamara Jerée, Tlotlo Tsamaase, Sheree Renée Thomas, Tobias S. Buckell, Inegbenoise O. Osagie, Tobi Ogundiran,…
I was born in a Jamaican far-district just before independence. That historical fact is only one aspect of my in-between childhood. My daily imaginative fare was European fairy tales; my mother’s stories of growing up; and folktales, rife with plantation monsters, that my grand-uncle told. There was no distance between life and those tales: our life was mythic. The district people were poor. So they understood inexactitudes profoundly enough to put two and two together and make five. They worshipped integrity, and church was central. Inevitably, genre-crossing, “impossible” realities, and the many ways love interrupts history, were set in my imagination by the time I was seven and knew I would write.
For me, growing up in the Caribbean, books that don’t separate between the “naturalistic” world and so-called “other” worlds, always ring uniquely true. Gorée is a transnational story set in Castries, St. Lucia, New York City, USA, Dakar, Senegal, and London, England. It’s the story of a family whose great losses parallel the loss of Africa's children through the transatlantic slave trade and the difficult, if not impossible, return of those stolen away. The novel’s love and loss stories are all in some way are filtered through the door of no return on Gorée Island in Senegal. The stories are not told in the physical realm only and do not only rely on physical portals. Barry's loves and lovers must return to the past and make the journey in spirit too.
A contemporary portrait of estrangement, this novel explores the African diaspora and the encounters made by people of African descent as they journey from New York to London, St. Lucia, and Senegal. Traveling to Africa to meet her ex-husband’s new family, Magdalene and her daughter Khadi are brought face-to-face with the perils of forgotten pasts—both social and cultural. And when Khadi's trip to the slave port of Goree takes an unfavorable turn, certain divisions in global culture become evident, making this a powerful investigation into the continuing repercussions of the slave trade.
I’ve always loved reading about women who lived in earlier eras, whether that was through nonfiction or historical fiction. Books gave me access to worlds beyond my own and I loved thinking about what I would do in a particular situation, whether I would have made the same choices as the women I was reading about. I suppose it’s no surprise that I have a Ph.D. in history and teach European history. I love sharing my passion for the past and I hope you love the books I recommended as much as I do!
This book had me in tears. It’s the story of Black women who lived in Paris and were scandalous not necessarily because of anything they did, but because of who they were.
Sarah Baartmann had a tragic life where she was exhibited as a sexual spectacle in the 1810s. Jeanne Duval was the mistress of the famous poet Charles Baudelaire and was vilified and blamed for all his problems – even though it’s clear that he was a hot mess. One reason that I love this book is that the author wrote it with such heart.
Even though there were relatively few people of colour in post-revolutionary France, images of and discussions about black women in particular appeared repeatedly in a variety of French cultural sectors and social milieus. In Venus Noire, Robin Mitchell shows how these literary and visual depictions of black women helped to shape the country's post-revolutionary national identity, particularly in response to the trauma of the French defeat in the Haitian Revolution.
Venus Noire explores the ramifications of this defeat by examining visual and literary representations of three black women who achieved fame in the years that followed. Sarah Baartmann, popularly known…
My final choice – last but by no means least – is an exhibition catalogue, of an exhibition currently on at Cambridge’s major university museum, the Fitzwilliam (founded 1816).
Besides the organising co-curators and co-editors (Dr Avery is Keeper of Applied Arts at the Fitz, Dr Richards a historian of law, empire and the African diaspora at the LSE), no fewer than 28 colleagues and experts (their Biographies and the co-editors’ Acknowledgements occupy 8 densely printed pages) have contributed to this splendidly produced and brilliantly illustrated volume.
When it was announced that Cambridge University would be conducting a full-on investigation of the extent to which both university-level institutions (such as the Fitz) and constituent colleges had benefited historically from exploiting the labour of enslaved African persons, groans went up both inside and outside the University community.
This exhibition and its catalogue are a robust response to such criticism. For though…
I am passionate about Juneteenth as a way to celebrate black and African voices, but without it always having to do with the Civil Rights movement or with slavery. Black and African voices deserve to be heard, but they also deserve to write about what they’re passionate about and what they love rather than being constantly pigeonholed into writing about the Civil Rights movement or slavery. I decided to pick books that celebrate black and African voices that still have conflict and an impact on the reader but don’t veer into the often overused black pain trope.
Blackened Roots is an excellent collection of bloody, messy, intrigue. Often, we don’t get to see zombies from the lens of people of color (ex. Michonne from The Walking Dead) so this collection is worth its weight in gold. It has so many different perspectives on the classic horror monster that I certainly think should be read as a thriller on Juneteenth.
The stories are all very well-written by indie and traditionally published authors alike, so it’s very diverse and I really enjoyed the voices of each author. One doesn’t have to be a horror fan to enjoy it (though I’m certain it helps!) as there is also plenty of humor, dark and otherwise, to have fun with too.
Mocha Memoirs Press and Nightlight Podcast are proud to present Blackened Roots: An Anthology of the Undead - a groundbreaking anthology celebrating nontraditional zombie stories from the African diaspora. The anthology is co-edited by Stoker-nominated and award-winning editor and writer Nicole Givens Kurtz and 2022 World Fantasy Award(R) Winner and 2022 Ignyte(R) Winner, producer, and editor Tonia Ransom at NIGHTLIGHT.
Blackened Roots is a unique collection and will be a must-have for zombie lovers. Blackened Roots takes the zombie mythos back to its roots. Drawing from a variety of cultural backgrounds, Blackened Roots imagines a world of horror and wonder…
I am an African Australian writer and have a deep passion for black people's stories. I write across genres and forms, and my award-winning works are mostly Afrocentric. I have a master's degree in distributed computer systems, with distinction, a master's degree in creative writing, and a PhD in creative writing. I am especially curious about unique voices in black speculative fiction in transformative stories of culture, diversity, climate change, writing the other, and betwixt. I am an author of several novels and fiction collections, and a finalist in the 2022 World Fantasy Award. I was announced in the honor list of the 2022 Otherwise Fellowships for ‘doing exciting work in gender and speculative fiction’.
Dominion is a unique black speculative fiction that integrates stories from prominent voices from Africa and the diaspora, including Suyi Davies Okungbowa, Dare Segun Falowo, Mame Bougouma Diene, Dilma Dila, and more. Featuring a foreword by Tananarive Due, the award-winning anthology offers African spirituality, magical realism, Afrofuturistic stories, dystopian worlds and tales that confront in many ways colonialism, social injustice, and capitalism.
Dominion is the first anthology of speculative fiction and poetry by Africans and the African Diaspora. An old god rises up each fall to test his subjects. Once an old woman's pet, a robot sent to mine an asteroid faces an existential crisis. A magician and his son time-travel to Ngoni country and try to change the course of history. A dead child returns to haunt his grieving mother with terrifying consequences. Candace, an ambitious middle manager, is handed a project that will force her to confront the ethical ramifications of her company's latest project—the monetization of human memory. Osupa,…
I’ve been fascinated with the ocean starting when I was a kid growing up on the Great Lakes. While I sailed and swam in Lake Erie’s freshwater, I dreamed of and read about oceans. My career as a historian and writer has been dedicated to exploring the human relationship with the ocean, especially the underwater realm so often left out of maritime history and literature. My greatest joy is that other historians have joined my quest. The books I’ve selected include some I used as sources in writing ocean history and others by historians who are themselves plumbing the ocean’s depths.
This important and revealing book conveys the untold history of West Africans and their relationship with the ocean, including the underwater realm, from before New World slavery and extending around the Atlantic as enslaved African swimmers and divers carried their skills and the culture associated with them in the African diaspora. Kevin Dawson’s story is not only fascinating but also firmly discredits the false and insidious belief that Blacks are naturally poor swimmers and demonstrates instead the long and proud traditions of West African knowledge and use of the undersea.
Long before the rise of New World slavery, West Africans were adept swimmers, divers, canoe makers, and canoeists. They lived along riverbanks, near lakes, or close to the ocean. In those waterways, they became proficient in diverse maritime skills, while incorporating water and aquatics into spiritual understandings of the world. Transported to the Americas, slaves carried with them these West African skills and cultural values. Indeed, according to Kevin Dawson's examination of water culture in the African diaspora, the aquatic abilities of people of African descent often surpassed those of Europeans and their descendants from the age of discovery until…
Before I’m a scholar, author, or policy wonk, I’m a Christian who believes that God has shown us that our highest and greatest call after loving God is to love each other—and thus we are to value people’s and communities’ well-being above profit, wealth, and status. Thus, I come to sociology with a sense of mission: to use the tools of social science to understand the mechanisms creating inequitable resource access and, with that insight, to imagine and work alongside like-minded others to build economic and political systems that foster communal and individual prosperity. By studying the Black middle class, specifically, I gain traction for understanding how racial status distorts our economic and political systems.
This book helped me to understand the cultural complexity of my family—my father is a Jamaican immigrant, and my mother is a native-born African American—and the cultural richness of my neighborhood, Harlem, in New York City.
Like Lacy, Clerge centers her research in suburbia, not in a city. And Clerge explains how cultural distinctions across Caribbean and African American communities offer a rich tapestry of expression, and ways of being and belonging.
She reveals how cultural differentiation shapes and is shaped by class variation and strategies for navigating White domination and anti-Black racism. Clerge also discusses the implications for solidaristic behaviors across people of African descent in the United States.
The expansion of the Black American middle class and the unprecedented increase in the number of Black immigrants since the 1960s have transformed the cultural landscape of New York.
In The New Noir, Orly Clerge explores the richly complex worlds of an extraordinary generation of Black middle class adults who have migrated from different corners of the African diaspora to suburbia. The Black middle class today consists of diverse groups whose ongoing cultural, political, and material ties to the American South and Global South shape their cultural interactions at work, in their suburban neighborhoods, and at their kitchen tables. Clerge…
