From the nineteenth century articulations of Sojourner Truth to contemporary thinkers like Patricia J. Williams, Black feminists have always recognized the mutual dependence of race and gender. Detailing these connections, Not Just Race, Not Just Gender explores the myriad ways race and gender shape lives and social practices. Resisting essentialist tendencies, Valerie Smith identifies black feminist theorizing as a strategy of reading rather than located in a particular subjective experience. Her intent is not to deny the validity of black women's lived experience, but rather to resist deploying a uniform model of black women's lives that actually undermines the power of black feminist thought. Whether reading race or gender in the Central Park jogger case or in contemporary media, like Livin' Large, Smith displays critical rigor that promises to change the way we think about race and gender.
A powerful and provocative collection of essays that offers poignant reflections on living between society' s most charged, politicized, and intractably polar spaces— between black and white, rich and poor, thin and fat.Savala Nolan knows what it means to live in the in-between. Descended from a Black and Mexican father and a white mother, Nolan' s mixed-race identity is obvious, for better and worse. At her mother' s encouragement, she began her first diet at the age of three and has been both fat and painfully thin throughout her life. She has experienced both the discomfort of generational poverty and the ease of wealth and privilege.It is these liminal spaces— of race, class, and body type— that the essays in Don' t Let It Get You Down excavate, presenting a clear and nuanced understanding of our society' s most intractable points of tension. The twelve essays that comprise this collection are rich with unforgettable anecdotes and are as humorous and as full of Nolan' s appetites as they are of anxieties. Over and over again, Nolan reminds us that our true identities are often most authentically lived not in the black and white, but in the grey of the in-between.
The Truth That Never Hurts brings together for the first time more than two decades of literary criticism & political thought about gender, race, sexuality, power & social change. As one of the first writers in the United States to claim Black feminism for Black women in the early seventies, this authors works has been ground breaking in defining a Black women's literary tradition; in examining the sexual politics of the lives of Black & other women of color; in representing the lives of Black lesbians & gay men; & in making connections between race, class, sexuality, & gender. Her essay "Toward a Black Feminist Criticism," is often cited as a major catalyst in opening the field of Black women's literature. This essay also presented the first serious discussion of Black lesbian writing. Essays about racism in the women's movement, Black & Jewish relations, & homophobia in the Black community have ignited dialogue about topics that few other writers address. The collection also brings together topical political commentaries that examine the 1968 Chicago convention demonstrations; attacks on the NEA; the Anita Hill/Clarence Thomas Senate hearings; & police brutality against Rodney King & Abner Louima. It also includes a never before published personal essay on racial violence, the day-to-day life of Kitchen Table Press, & the bonds between Black women that make it possible to survive. This authors writing offers a rare combination of intellectual challenge & an accessible personal voice. her commitment to telling the truth about difficult, even volatile issues, makes a unique contribution to American literature & social thought.
By the New York Times bestselling author: a provocative account of the attack on the humanities, the rise of intolerance, and the erosion of serious learning America is in crisis, from the university to the workplace. Toxic ideas first spread by higher education have undermined humanistic values, fueled intolerance, and widened divisions in our larger culture. Chaucer, Shakespeare and Milton? Oppressive. American history? Tyranny. Professors correcting grammar and spelling, or employers hiring by merit? Racist and sexist. Students emerge into the working world believing that human beings are defined by their skin color, gender, and sexual preference, and that oppression based on these characteristics is the American experience. Speech that challenges these campus orthodoxies is silenced with brute force. The Diversity Delusion argues that the root of this problem is the belief in America’s endemic racism and sexism, a belief that has engendered a metastasizing diversity bureaucracy in society and academia. Diversity commissars denounce meritocratic standards as discriminatory, enforce hiring quotas, and teach students and adults alike to think of themselves as perpetual victims. From #MeToo mania that blurs flirtations with criminal acts, to implicit bias and diversity compliance training that sees racism in every interaction, Heather Mac Donald argues that we are creating a nation of narrowed minds, primed for grievance, and that we are putting our competitive edge at risk. But there is hope in the works of authors, composers, and artists who have long inspired the best in us. Compiling the author’s decades of research and writing on the subject, The Diversity Delusion calls for a return to the classical liberal pursuits of open-minded inquiry and expression, by which everyone can discover a common humanity.
An exploration of how design might be led by marginalized communities, dismantle structural inequality, and advance collective liberation and ecological survival. What is the relationship between design, power, and social justice? “Design justice” is an approach to design that is led by marginalized communities and that aims expilcitly to challenge, rather than reproduce, structural inequalities. It has emerged from a growing community of designers in various fields who work closely with social movements and community-based organizations around the world. This book explores the theory and practice of design justice, demonstrates how universalist design principles and practices erase certain groups of people—specifically, those who are intersectionally disadvantaged or multiply burdened under the matrix of domination (white supremacist heteropatriarchy, ableism, capitalism, and settler colonialism)—and invites readers to “build a better world, a world where many worlds fit; linked worlds of collective liberation and ecological sustainability.” Along the way, the book documents a multitude of real-world community-led design practices, each grounded in a particular social movement. Design Justice goes beyond recent calls for design for good, user-centered design, and employment diversity in the technology and design professions; it connects design to larger struggles for collective liberation and ecological survival.
In spite of the double burden of racial and gender discrimination, African-American women have developed a rich intellectual tradition that is not widely known. In Black Feminist Thought, Patricia Hill Collins explores the words and ideas of Black feminist intellectuals as well as those African-American women outside academe. She provides an interpretive framework for the work of such prominent Black feminist thinkers as Angela Davis, bell hooks, Alice Walker, and Audre Lorde. The result is a superbly crafted book that provides the first synthetic overview of Black feminist thought.
Prejudice is often not a conscious attitude: because of ingrained habits in relating to the world, one may act in prejudiced ways toward others without explicitly understanding the meaning of one’s actions. Similarly, one may know how to do certain things, like ride a bicycle, without being able to articulate in words what that knowledge is. These are examples of what Alexis Shotwell discusses in Knowing Otherwise as phenomena of “implicit understanding.” Presenting a systematic analysis of this concept, she highlights how this kind of understanding may be used to ground positive political and social change, such as combating racism in its less overt and more deep-rooted forms. Shotwell begins by distinguishing four basic types of implicit understanding: nonpropositional, skill-based, or practical knowledge; embodied knowledge; potentially propositional knowledge; and affective knowledge. She then develops the notion of a racialized and gendered “common sense,” drawing on Gramsci and critical race theorists, and clarifies the idea of embodied knowledge by showing how it operates in the realm of aesthetics. She also examines the role that both negative affects, like shame, and positive affects, like sympathy, can play in moving us away from racism and toward political solidarity and social justice. Finally, Shotwell looks at the politicized experience of one’s body in feminist and transgender theories of liberation in order to elucidate the role of situated sensuous knowledge in bringing about social change and political transformation.
A study of the experiences of women of color law school faculty and the effect of race and gender on legal education. This book is the first formal, empirical investigation into the law faculty experience using a distinctly intersectional lens, examining both the personal and professional lives of law faculty members. Comparing the professional and personal experiences of women of color professors with white women, white men, and men of color faculty from assistant professor through dean emeritus, Unequal Profession explores how the race and gender of individual legal academics affects not only their individual and collective experience, but also legal education as a whole. Drawing on quantitative and qualitative empirical data, Meera E. Deo reveals how race and gender intersect to create profound implications for women of color law faculty members, presenting unique challenges as well as opportunities to improve educational and professional outcomes in legal education. Deo shares the powerful stories of law faculty who find themselves confronting intersectional discrimination and implicit bias in the form of silencing, mansplaining, and the presumption of incompetence, to name a few. Through hiring, teaching, colleague interaction, and tenure and promotion, Deo brings the experiences of diverse faculty to life and proposes several mechanisms to increase diversity within legal academia and to improve the experience of all faculty members. Praise for Unequal Profession “Fascinating, shocking, and infuriating, Meera Deo’s careful qualitative research exposes the institutional practices and cultural norms that maintain a separate and unequal race-gender order even within the privileged ranks of tenure-track law professors. With riveting quotes from faculty across a range of institutional and social positions, Unequal Profession powerfully reminds us that we must do better. I saw my own career in this book—and you might, too.” —Angela P. Harris, University of California, Davis “A powerful account of inequality in legal academia. Quantitative data and compelling narratives bring to life the challenges and roadblocks in gaining not just entry and tenure but also respect for the voices of minority women within the academy. There are no easy remedies, but reading this book is a good place to start for lawyers and law professors to understand what minority women face and which practices can increase the odds of success.” —Bryant G. Garth, University of California, Irvine “Unequal Profession should be mandatory reading for everyone in legal academia . . . . By providing concrete evidence of systemic discrimination, Meera Deo illuminates a long-standing problem needing to be remedied.” —Sarah Deer, University of Kansas
In this book Joe Feagin extends the systemic racism framework in previous Routledge books by developing an innovative concept, the white racial frame. Now four centuries-old, this white racial frame encompasses not only the stereotyping, bigotry, and racist ideology emphasized in other theories of "race," but also the visual images, array of emotions, sounds of accented language, interlinking interpretations and narratives, and inclinations to discriminate that are still central to the frame’s everyday operations. Deeply imbedded in American minds and institutions, this white racial frame has for centuries functioned as a broad worldview, one essential to the routine legitimation, scripting, and maintenance of systemic racism in the United States. Here Feagin examines how and why this white racial frame emerged in North America, how and why it has evolved socially over time, which racial groups are framed within it, how it has operated in the past and in the present for both white Americans and Americans of color, and how the latter have long responded with strategies of resistance that include enduring counter-frames. In this new edition, Feagin has included much new interview material and other data from recent research studies on framing issues related to white, black, Latino, and Asian Americans, and on society generally. The book also includes a new discussion of the impact of the white frame on popular culture, including on movies, video games, and television programs as well as a discussion of the white racial frame’s significant impacts on public policymaking, immigration, the environment, health care, and crime and imprisonment issues.
'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
