Tourists exult in Bahia, Brazil, as a tropical paradise infused with the black population's one-of-a-kind vitality. But the alluring images of smiling black faces and dancing black bodies masks an ugly reality of anti-black authoritarian violence. Christen A. Smith argues that the dialectic of glorified representations of black bodies and subsequent state repression reinforces Brazil's racially hierarchal society. Interpreting the violence as both institutional and performative, Smith follows a grassroots movement and social protest theater troupe in their campaigns against racial violence. As Smith reveals, economies of black pain and suffering form the backdrop for the staged, scripted, and choreographed afro-paradise that dazzles visitors. The work of grassroots organizers exposes this relationship, exploding illusions and asking unwelcome questions about the impact of state violence performed against the still-marginalized mass of Afro-Brazilians. Based on years of field work, Afro-Paradise is a passionate account of a long-overlooked struggle for life and dignity in contemporary Brazil.
The history of voting rights in America is a checkerboard marked by dogged progress against persistent prejudice toward an expanding inclusiveness. The Supreme Court decision in Smith v. Allwright is a crucial chapter in that broader story and marked a major turning point for the modern civil rights movement. Charles Zelden's concise and thoughtful retelling of this episode reveals why. Denied membership in the Texas Democratic Party by popular consensus, party rules, and (from 1923 to 1927) state statutes, Texas blacks were routinely turned away from voting in the Democratic primary in the first decades of the twentieth century. Given that Texas was a one-party state and that the primary effectively determined who held office, this meant the total exclusion of Texas blacks from the political process. This practice went unchecked until 1940, when Lonnie Smith, a black dentist from Houston, fought his exclusion by election judge S. E. Allwright in the 1940 Democratic Primary. Defeated in the lower courts, Smith finally found justice in the U.S. Supreme Court, which ruled 8-1 that the Democratic Party and its primary were not "private and voluntary" and, thus, were duly bound by constitutional protections governing the electoral process and the rights of all citizens. While the initial impetus of the case may have been the wish of one man to exercise his right to vote, the real meaning of Smith's challenge to the Texas all white primary lies at the heart of the entire civil rights revolution. One of the first significant victories for the NAACP's newly formed Legal Defense Fund against Jim Crow segregation, it provided the conceptual foundation which underlay Thurgood Marshall's successful arguments in Brown v. Board of Education. It was also viewed by Marshall, looking back on a long and storied career, as one of his most important personal victories. As Zelden shows, the Smith decision attacked the intractable heart of segregation, as it redrew the boundary between public and private action in constitutional law and laid the groundwork for many civil rights cases to come. It also redefined the Court's involvement in what had been a hands-off area of "political questions" and foreshadowed its participation in voter reapportionment cases. A landmark case in the evolution of Southern race relations and politics and for voting rights in general, Smith also provides a telling example of how the clash between national concerns and local priorities often acts as a lightning rod for resolving controversial issues. Zelden's lucid account of the controversies and conflicts surrounding Smith should refine and reinvigorate our understanding of a crucial moment in American history.
Ming Smith's poetic and experimental images are icons of twentieth-century African American life. One of the greatest artist-photographers working today, Smith moved to New York in the 1970s and began to make images charged with startling beauty and spiritual energy. This long-awaited monograph brings together four decades of Smith's work, celebrating her trademark lyricism, distinctively blurred silhouettes, dynamic street scenes, and deep devotion to theater, music, poetry, and dance--from the "Pittsburgh Cycle" plays of August Wilson to the Afrofuturism of Sun Ra. With never-before-seen images, and a range of illuminating essays and interviews, this tribute to Smith's singular vision promises to be an enduring contribution to the history of American photography. Copublished by Aperture and Documentary Arts
It is important for us all in America to document opposition for future generations to fairly assess the anger, logic, and legal implications of historical attempts to make change by small numbers of people who try to impose their rule of thought on the masses. Rev. Jesse Jackson and Ramona Edelin have tried to impose acceptance of the term African American on all black people without their permission. The purpose of this writing is to expose what was done and the legal opposition to what was done, as well as the disrespect for the masses of black people to perpetuate an unconscious ritual. The title of the book is African American: The Opposition Court Case.
"Gerald Horne draws on Smith's life to make insightful connections between labor radicalism, the Civil Rights Movement and American anticommunism, demonstrating that the gains of the former two were undermined by the latter. In so doing, he illustrates that although the left achieved some key legal victories in the mid-20th century, the right's war on labor unions resulted in dwindling job opportunities and shrinking salaries for African American workers. Moreover, Red Seas uncovers the little-known experiences of black sailors and their contribution to the struggle for labor and civil rights, the history of the Communist Party and its black members, and the significant dimensions of Jamaican labor and political radicalism."--BOOK JACKET.
This “important and timely” (Drew Faust, Harvard Magazine) #1 New York Times bestseller examines the legacy of slavery in America—and how both history and memory continue to shape our everyday lives. Beginning in his hometown of New Orleans, Clint Smith leads the reader on an unforgettable tour of monuments and landmarks—those that are honest about the past and those that are not—that offer an intergenerational story of how slavery has been central in shaping our nation's collective history, and ourselves. It is the story of the Monticello Plantation in Virginia, the estate where Thomas Jefferson wrote letters espousing the urgent need for liberty while enslaving more than four hundred people. It is the story of the Whitney Plantation, one of the only former plantations devoted to preserving the experience of the enslaved people whose lives and work sustained it. It is the story of Angola, a former plantation-turned-maximum-security prison in Louisiana that is filled with Black men who work across the 18,000-acre land for virtually no pay. And it is the story of Blandford Cemetery, the final resting place of tens of thousands of Confederate soldiers. A deeply researched and transporting exploration of the legacy of slavery and its imprint on centuries of American history, How the Word Is Passed illustrates how some of our country's most essential stories are hidden in plain view—whether in places we might drive by on our way to work, holidays such as Juneteenth, or entire neighborhoods like downtown Manhattan, where the brutal history of the trade in enslaved men, women, and children has been deeply imprinted. Informed by scholarship and brought to life by the story of people living today, Smith's debut work of nonfiction is a landmark of reflection and insight that offers a new understanding of the hopeful role that memory and history can play in making sense of our country and how it has come to be. Winner of the National Book Critics Circle Award for Nonfiction Winner of the Stowe Prize Winner of 2022 Hillman Prize for Book Journalism A New York Times 10 Best Books of 2021
Published in 1982, But Some of Us Are Brave was the first-ever Black women's studies reader and a foundational text of contemporary feminism. Featuring writing from eminent scholars, activists, teachers, and writers, such as the Combahee River Collective and Alice Walker, All the Women Are White, All the Blacks Are Men, But Some of Us Are Bravechallenges the absence of Black feminist thought in women’s studies, confronts racism, and investigates the mythology surrounding Black women in the social sciences. As the first comprehensive collection of Black feminist scholarship, But Some of Us Are Brave was recognized by Audre Lorde as “the beginning of a new era, where the ‘women’ in women’s studies will no longer mean ‘white.’” Coeditors Akasha (Gloria T.) Hull, Patricia Bell-Scott, and Barbara Smith are authors and former women's studies professors. Brittney C. Cooper is a professor of Women's and Gender Studies and Africana Studies at Rutgers University. She is the author of several books, including Eloquent Rage, named by Emma Watson as an Our Shared Shelf read for November/December 2018.
For many of the 200,000 black soldiers sent to Europe with the American Expeditionary Forces in World War I, encounters with French civilians and colonial African troops led them to imagine a world beyond Jim Crow. They returned home to join activists working to make that world real. In narrating the efforts of African American soldiers and activists to gain full citizenship rights as recompense for military service, Adriane Lentz-Smith illuminates how World War I mobilized a generation. Black and white soldiers clashed as much with one another as they did with external enemies. Race wars within the military and riots across the United States demonstrated the lengths to which white Americans would go to protect a carefully constructed caste system. Inspired by Woodrow Wilson’s rhetoric of self-determination but battered by the harsh realities of segregation, African Americans fought their own “war for democracy,” from the rebellions of black draftees in French and American ports to the mutiny of Army Regulars in Houston, and from the lonely stances of stubborn individuals to organized national campaigns. African Americans abroad and at home reworked notions of nation and belonging, empire and diaspora, manhood and citizenship. By war’s end, they ceased trying to earn equal rights and resolved to demand them. This beautifully written book reclaims World War I as a critical moment in the freedom struggle and places African Americans at the crossroads of social, military, and international history.
From Willow Smith and Jess Hendel comes a powerful and groundbreaking historical saga about an African warrior in the world of the Vikings. “Intimate, tender, and fiercely epic.”—Tomi Adeyemi, author of Children of Blood and Bone Lore, legend, and history tell us of the Vikings: warrior kings on epic journeys of conquest and plunder. But the stories we know are not the only stories to tell. There is another story, one that has been lost to the mists of time: the saga of the dark queen. This saga begins with Yafeu, a defiant yet fiercely compassionate young warrior who is stolen from her home in the flourishing Ghānaian empire and taken to a distant kingdom in the North. There she is thrust into a strange, cold world of savage shield maidens, tyrannical rulers, and mysterious gods. And there she also finds something unexpected: a kindred spirit. She comes to serve Freydis, a shy princess who couldn’t be more different from the confident and self-possessed Yafeu. But they both want the same thing: to forge their own fate. Yafeu inspires Freydis to dream of a future greater than the one that the king and queen have forced upon her. And with the princess at her side, Yafeu learns to navigate this new world and grows increasingly determined to become one of the legendary shield maidens—to fight not only for her freedom but for the freedom of others. Yafeu may have lost her home, but she still knows who she is, and she’s not afraid to be the flame that burns a city to the ground so a new world can rise from the ashes. She will alter the course of history—and become the revolutionary heroine of her own myth.
The uprising at Attica Prison remains one of the bloodiest civil rights confrontations in American history... but without Frank “Big Black” Smith it could have been even worse. Now for the first time, the late Frank “Big Black” Smith shares his experience at the center of this uprising, struggling to protect hostages, prisoners and negotiators alike. Before his death, Frank “Big Black” Smith worked with writer and long time friend, Jared Reinmuth, to share the true story of his time in Attica State Prison. Adapted to a graphic novel by Améziane (Dark Horse’s Muhammad Ali), this is an unflinching look at the price of standing up to injustice.
