Previously published. Assistant DA Wynter King has brought down a big fish in court and is thrilled at the way her career is going, but retaliation lands her in the hospital. Now Wynter must hide until her attacker and his escapee boss is caught. She sees no other option but to run to her ex-fiancé, retired police detective Crowe Hansen. Crowe left the life of danger behind, along with Wynter, when he moved to Montana to follow his dream of running a ski lodge. Wynter is risking humiliation and opening old wounds going to him, but she knows with Crowe’s background, he’s the only one that can protect her. When the danger is past, will she go back to Baltimore and leave the man she’s never stopped loving? Keywords: interracial romance, multicultural romance, bwwm, contemporary romance
In this edited volume, Kasi Lemmons, the first African-American woman auteur to solidly and steadily produce a full body of work in cinema—an oeuvre of quality, of note, of international recognition—will get the full film-studies treatment. This collection offers the first scholarly examination of Lemmons’ films through various frameworks of film theory, illuminating her highly personal, unique, and rare vision. In Lemmons’ worldview, the spiritual and the supernatural manifest in the natural, corporeal world. She subtly infuses her work with such images and narratives, owning her formalism, her modernist aesthetic, her cinematic preoccupations and her ontological leanings on race. Lemmons holds the varied experiences of African-American life before her lens—the ambitious bourgeoise, the spiritually lost, the ill and discarded, and the historically erased—and commits to capturing the nuances and differentiations, rather than perpetuating essentialized portrayals. This collection delves into Lemmons’ iconoclastic drive and post-soul aesthetic as emanations of her attitudes toward personal agency, social agency, and social justice.
The countless retellings and reimaginings of the private and public lives of Phillis Wheatley, Sally Hemings, Sarah Baartman, Mary Seacole, and Sarah Forbes Bonetta have transformed them into difficult cultural and black feminist icons. In Infamous Bodies, Samantha Pinto explores how histories of these black women and their ongoing fame generate new ways of imagining black feminist futures. Drawing on a variety of media, cultural, legal, and critical sources, Pinto shows how the narratives surrounding these eighteenth- and nineteenth-century celebrities shape key political concepts such as freedom, consent, contract, citizenship, and sovereignty. Whether analyzing Wheatley's fame in relation to conceptions of race and freedom, notions of consent in Hemings's relationship with Thomas Jefferson, or Baartman's ability to enter into legal contracts, Pinto reveals the centrality of race, gender, and sexuality in the formation of political rights. In so doing, she contends that feminist theories of black women's vulnerable embodiment can be the starting point for future progressive political projects.
In this hilariously sweet story about an opposites-attract friendship, chock-full of Yiddish humor, a girl and her best bird friend’s perfect day turns into a perfect opportunity to see things differently. Gitty and her feathered-friend Kvetch couldn’t be more different: Gitty always sees the bright side of life, while her curmudgeonly friend Kvetch is always complaining and, well, kvetching about the trouble they get into. One perfect day, Gitty ropes Kvetch into shlepping off on a new adventure to their perfect purple treehouse. Even when Kvetch sees signs of impending doom everywhere, Gitty finds silver linings and holds onto her super special surprise reason for completing their mission. But when her perfect plan goes awry, oy vey, suddenly it’s Gitty who’s down in the dumps. Can Kvetch come out of his funk to lift Gitty’s spirits back up?
It is well known that Renaissance culture gave an empowering role to the individual and thereby to agency. But how does race factor into this culture of empowerment? Canonical French authors like Rabelais and Montaigne have been celebrated for their flexible worldviews and interest in the difference of non-French cultures both inside and outside of Europe. As a result, this period in French cultural history has come to be valued as an exceptional era of cultural opening toward others. Agents without Empire shows that such a celebration is, at the very least, problematic. Szabari argues that before the rise of the French colonial empire, medieval categories of race based on the redemption story were recast through accounts of the Ottoman Empire that were made accessible, in a sudden and unprecedented manner, to agents of the French crown. Spying performed by Frenchmen in the Ottoman Empire in the sixteenth century permeated French culture in large part because those who spied also worked as knowledge producers, propagandists, and artists. The practice changed what it meant to be cultured and elite by creating new avenues of race- and gender-specific consumption for French and European men that affected all areas of sophisticated culture including literature, politics, prints, dressing, personal hygiene, and leisure. Agents without Empire explores race making in this period of European history in the context of diplomatic reposts, travel accounts, natural history, propaganda, religious literature, poetry, theater, fiction, and cheap print. It intervenes in conversations in whiteness studies, race theory, theories of agency and matter, and the history of diplomacy and spying to offer a new account of race making in early modern Europe.
Nine years post Quentin has been a breeze. That's my story, and I'm sticking to it. I've learned to breathe again without an ache in my chest. I've learned to laugh again without shadows in my eyes. I've trained myself to dwell on the good times by letting the lies, broken promises, and unanswered questions drift away in the wind. How mature of me, right? Quentin Ashton James V. He was everyone's golden boy, the most popular guy in school, the apple of his parents' eye, and American Royalty. All the girls wanted to do him. All the boys wanted to be him. He was groomed to take over the world one day. Little did I know, he was also destined to break my heart. Quentin and I have history-a history that precedes us and a history that dooms us. And just when I think I'm living my best life without him, Quentin, yet again, turns my world upside down.
Habeas Viscus focuses attention on the centrality of race to notions of the human. Alexander G. Weheliye develops a theory of "racializing assemblages," taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye's argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western man. Weheliye posits black feminist theories of modern humanity as useful correctives to the "bare life and biopolitics discourse" exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.
The first book in an epic heart-pounding fantasy trilogy inspired by ancient Indian history and Hindu mythology, perfect for fans of Sabaa Tahir and Renée Ahdieh. * A Book Riot Most Anticipated Novel of 2019 * B&N Top 50 Most Anticipated Novels * A broken bond. A dying land. A cat-and-mouse game that can only end in bloodshed. Esha lost everything in the royal coup—and as the legendary rebel known as the Viper, she’s made the guilty pay. Now she’s been tasked with her most important mission to date: taking down the ruthless General Hotha. Kunal has been a soldier since childhood. His uncle, the general, has ensured that Kunal never strays from the path—even as a part of Kunal longs to join the outside world, which has only been growing more volatile. When Esha and Kunal’s paths cross one fated night, an impossible chain of events unfolds. Both the Viper and the soldier think they’re calling the shots, but they’re not the only players moving the pieces. As the bonds that hold their land in order break down and the sins of the past meet the promise of a new future, both the soldier and the rebel must decide where their loyalties lie: with the lives they’ve killed to hold on to or with the love that’s made them dream of something more.
Who is ¿multiracial¿? And who decides? Addressing these two fundamental questions, Melinda Mills builds on the work of Heather Dalmage to explore the phenomenon¿and consequences¿of racial border patrolling by strangers, family members, friends, and even multiracial people themselves. Melinda Mills is assistant professor of gender and women¿s studies, sociology, and anthropology at Castleton University.
