Search results for ""Author Henry Louis Gates""

‘One of the greatest writers of our time.’ Toni Morrison ‘You Don’t Know Us Negroes adds immeasurably to our understanding of Hurston … her words make it impossible for readers to consider her anything but one of the intellectual giants of the 20th century.’ The New York Times Book Review Introduction by New York Times bestselling author Henry Louis Gates Jr. and Genevieve West Spanning more than 35 years of work, the first comprehensive collection of essays, criticism, and articles by the legendary author of the Harlem Renaissance, Zora Neale Hurston, showcasing the evolution of her distinctive style as an author. You Don’t Know Us Negroes is the quintessential gathering of provocative essays from one of the world’s most celebrated writers, Zora Neale Hurston. Spanning more than three decades and penned during the backdrop of the birth of the Harlem Renaissance, Montgomery bus boycott, desegregation of the military, and school integration, Hurston’s writing articulates the beauty and authenticity of Black life as only she could. Collectively, these essays showcase the roles enslavement and Jim Crow have played in intensifying Black people’s inner lives and culture rather than destroying it. She argues that in the process of surviving, Black people re-interpreted every aspect of American culture—"modif[ying] the language, mode of food preparation, practice of medicine, and most certainly religion.” White supremacy prevents the world from seeing or completely recognizing Black people in their full humanity and Hurston made it her job to lift the veil and reveal the heart and soul of the race. These pages reflect Hurston as the controversial figure she was – someone who stated that feminism is a mirage and that the integration of schools did not necessarily improve the education of Black students. Also covered is the sensational trial of Ruby McCollum, a wealthy Black woman convicted in 1952 for killing her lover, a white doctor. Demonstrating the breadth of this revered and influential writer’s work, You Don’t Know Us Negroes and Other Essays is an invaluable chronicle of a writer’s development and a window into her world and mind.

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Explores the family trees and genealogical identity of 12 of America's most extraordinary people As a nation of immigrants, the American experience is vibrantly defined by the diverse racial, ethnic, cultural, and religious heritage of its people. Perhaps because so many of their ancestors migrated to this country relatively recently, Americans are especially concerned with their family trees, carving out personal histories by combing through documents such as wills and estate records, federal and state censuses, and private family papers, and mining the stories and tales handed down to them by their forebears. Since 2007, the Harvard scholar Henry Louis Gates, Jr., has been helping African Americans find long-buried details about their ancestors by researching their family trees and then, when the paper trail ends, by analyzing their DNA and marrying that information to a wealth of historical data. Now, in Faces of America Gates explores the family trees of twelve of America’s most recognizable and extraordinary citizens, individuals who learn that they are of Asian, English, French, German, Irish, Italian, Jamaican, Jewish, Latino, Native American, Swiss, and Syrian ancestry: Inaugural poet Elizabeth Alexander, chef Mario Batali, comedian and television personality Stephen Colbert, writer Louise Erdrich, writer Malcolm Gladwell, actress Eva Longoria, cellist Yo Yo Ma, writer and director Mike Nichols, former monarch of Jordan Queen Noor, surgeon and author Dr. Mehmet Oz, actress Meryl Streep, and Olympic gold medalist and figure skater Kristi Yamaguchi. In addition, each of the subjects in Faces of America underwent dense genotyping to trace their genetic ancestry on their father’s line, their mother’s line, and their percentages of European, Asian, Native American, and African ancestry. Faces of America unfolds as a riveting journey into our country’s complex ancestral past. Readers will share in the surprise and delight, the shock and sadness of these twelve individuals themselves as Gates unveils their rich family stories, traced back to their arrival on America’s shores, and beyond, deep into the history of their ancestors’ countries of origin. America, as Gates shows us, is a nation of many historical threads, interwoven and united in the present moment. In this compelling book, Gates demonstrates that where we come from profoundly and fundamentally informs who we are today.

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Selected as a 2012 Outstanding Title by AAUP University Press Books for Public and Secondary School Libraries The history of how six Latin American countries acknowledge—or deny—their African past 12.5 million Africans were shipped to the New World during the Middle Passage. While just over 11.0 million survived the arduous journey, only about 450,000 of them arrived in the United States. The rest—over ten and a half million—were taken to the Caribbean and Latin America. This astonishing fact changes our entire picture of the history of slavery in the Western hemisphere, and of its lasting cultural impact. These millions of Africans created new and vibrant cultures, magnificently compelling syntheses of various African, English, French, Portuguese, and Spanish influences. Despite their great numbers, the cultural and social worlds that they created remain largely unknown to most Americans, except for certain popular, cross-over musical forms. So Henry Louis Gates, Jr. set out on a quest to discover how Latin Americans of African descent live now, and how the countries acknowledge—or deny—their African past; how the fact of race and African ancestry play themselves out in the multicultural worlds of the Caribbean and Latin America. Starting with the slave experience and extending to the present, Gates unveils the history of the African presence in six Latin American countries—Brazil, Cuba, the Dominican Republic, Haiti, Mexico, and Peru—through art, music, cuisine, dance, politics, and religion, but also the very palpable presence of anti-black racism that has sometimes sought to keep the black cultural presence from view. In Brazil, he delves behind the façade of Carnaval to discover how this ‘rainbow nation’ is waking up to its legacy as the world’s largest slave economy. In Cuba, he finds out how the culture, religion, politics and music of this island is inextricably linked to the huge amount of slave labor imported to produce its enormously profitable 19th century sugar industry, and how race and racism have fared since Fidel Castro’s Communist revolution in 1959. In Haiti, he tells the story of the birth of the first-ever black republic, and finds out how the slaves’s hard fought liberation over Napoleon Bonaparte’s French Empire became a double-edged sword. In Mexico and Peru, he explores the almost unknown history of the significant numbers of black people—far greater than the number brought to the United States—brought to these countries as early as the sixteenth and seventeenth centuries, and the worlds of culture that their descendants have created in Vera Cruz on the Gulf of Mexico, the Costa Chica region on the Pacific, and in and around Lima, Peru. Professor Gates’ journey becomes ours as we are introduced to the faces and voices of the descendants of the Africans who created these worlds. He shows both the similarities and distinctions between these cultures, and how the New World manifestations are rooted in, but distinct from, their African antecedents. “Black in Latin America” is the third instalment of Gates’s documentary trilogy on the Black Experience in Africa, the United States, and in Latin America. In America Behind the Color Line, Professor Gates examined the fortunes of the black population of modern-day America. In Wonders of the African World, he embarked upon a series of journeys to reveal the history of African culture. Now, he brings that quest full-circle in an effort to discover how Africa and Europe combined to create the vibrant cultures of Latin America, with a rich legacy of thoughtful, articulate subjects whose stories are astonishingly moving and irresistibly compelling.

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Selected as a 2012 Outstanding Title by AAUP University Press Books for Public and Secondary School Libraries The history of how six Latin American countries acknowledge—or deny—their African past 12.5 million Africans were shipped to the New World during the Middle Passage. While just over 11.0 million survived the arduous journey, only about 450,000 of them arrived in the United States. The rest—over ten and a half million—were taken to the Caribbean and Latin America. This astonishing fact changes our entire picture of the history of slavery in the Western hemisphere, and of its lasting cultural impact. These millions of Africans created new and vibrant cultures, magnificently compelling syntheses of various African, English, French, Portuguese, and Spanish influences. Despite their great numbers, the cultural and social worlds that they created remain largely unknown to most Americans, except for certain popular, cross-over musical forms. So Henry Louis Gates, Jr. set out on a quest to discover how Latin Americans of African descent live now, and how the countries acknowledge—or deny—their African past; how the fact of race and African ancestry play themselves out in the multicultural worlds of the Caribbean and Latin America. Starting with the slave experience and extending to the present, Gates unveils the history of the African presence in six Latin American countries—Brazil, Cuba, the Dominican Republic, Haiti, Mexico, and Peru—through art, music, cuisine, dance, politics, and religion, but also the very palpable presence of anti-black racism that has sometimes sought to keep the black cultural presence from view. In Brazil, he delves behind the façade of Carnaval to discover how this ‘rainbow nation’ is waking up to its legacy as the world’s largest slave economy. In Cuba, he finds out how the culture, religion, politics and music of this island is inextricably linked to the huge amount of slave labor imported to produce its enormously profitable 19th century sugar industry, and how race and racism have fared since Fidel Castro’s Communist revolution in 1959. In Haiti, he tells the story of the birth of the first-ever black republic, and finds out how the slaves’s hard fought liberation over Napoleon Bonaparte’s French Empire became a double-edged sword. In Mexico and Peru, he explores the almost unknown history of the significant numbers of black people—far greater than the number brought to the United States—brought to these countries as early as the sixteenth and seventeenth centuries, and the worlds of culture that their descendants have created in Vera Cruz on the Gulf of Mexico, the Costa Chica region on the Pacific, and in and around Lima, Peru. Professor Gates’ journey becomes ours as we are introduced to the faces and voices of the descendants of the Africans who created these worlds. He shows both the similarities and distinctions between these cultures, and how the New World manifestations are rooted in, but distinct from, their African antecedents. “Black in Latin America” is the third instalment of Gates’s documentary trilogy on the Black Experience in Africa, the United States, and in Latin America. In America Behind the Color Line, Professor Gates examined the fortunes of the black population of modern-day America. In Wonders of the African World, he embarked upon a series of journeys to reveal the history of African culture. Now, he brings that quest full-circle in an effort to discover how Africa and Europe combined to create the vibrant cultures of Latin America, with a rich legacy of thoughtful, articulate subjects whose stories are astonishingly moving and irresistibly compelling.

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Uncle Tom charts the dramatic cultural transformation of perhaps the most controversial literary character in American history. From his origins as the heroic, Christ-like protagonist of Harriet Beecher Stowe's anti-slavery novel, the best-selling book of the nineteenth century after the Bible, Uncle Tom has become a widely recognized epithet for a black person deemed so subservient to whites that he betrays his race. Readers have long noted that Stowe's character is not the traitorous sycophant that his name connotes today. Adena Spingarn traces his evolution in the American imagination, offering the first comprehensive account of a figure central to American conversations about race and racial representation from 1852 to the present. We learn of the radical political potential of the novel's many theatrical spinoffs even in the Jim Crow era, Uncle Tom's breezy disavowal by prominent voices of the Harlem Renaissance, and a developing critique of "Uncle Tom roles" in Hollywood. Within the stubborn American binary of black and white, citizens have used this rhetorical figure to debate the boundaries of racial difference and the legacy of slavery. Through Uncle Tom, black Americans have disputed various strategies for racial progress and defined the most desirable and harmful images of black personhood in literature and popular culture.

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When African American intellectuals announced the birth of the "New Negro" around the turn of the twentieth century, they were attempting through a bold act of renaming to change the way blacks were depicted and perceived in America. By challenging stereotypes of the Old Negro, and declaring that the New Negro was capable of high achievement, black writers tried to revolutionize how whites viewed blacks--and how blacks viewed themselves. Nothing less than a strategy to re-create the public face of "the race," the New Negro became a dominant figure of racial uplift between Reconstruction and World War II, as well as a central idea of the Harlem, or New Negro, Renaissance. Edited by Henry Louis Gates, Jr., and Gene Andrew Jarrett, The New Negro collects more than one hundred canonical and lesser-known essays published between 1892 and 1938 that examine the issues of race and representation in African American culture. These readings--by writers including W.E.B. Du Bois, Paul Laurence Dunbar, Alain Locke, Carl Van Vechten, Zora Neale Hurston, and Richard Wright--discuss the trope of the New Negro, and the milieu in which this figure existed, from almost every conceivable angle. Political essays are joined by essays on African American fiction, poetry, drama, music, painting, and sculpture. More than fascinating historical documents, these essays remain essential to the way African American identity and history are still understood today.

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Less than three months before he was assassinated, Malcolm X spoke at the Oxford Union the most prestigious student debating organization in the United Kingdom. The Oxford Union regularly welcomed heads of state and stars of screen and served as the training ground for the politically ambitious offspring of Britain's better classes. Malcolm X, by contrast, was the global icon of race militancy. For many, he personified revolution and danger. Marking the fiftieth anniversary of the debate, this book brings to life the dramatic events surrounding the visit, showing why Oxford invited Malcolm X, why he accepted, and the effect of the visit on Malcolm X and British students. Stephen Tuck tells the human story behind the debate and also uses it as a starting point to discuss larger issues of Black Power, the end of empire, British race relations, immigration, and student rights. Coinciding with a student-led campaign against segregated housing, the visit enabled Malcolm X to make connections with radical students from the Caribbean, Africa, and South Asia, giving him a new perspective on the global struggle for racial equality, and in turn, radicalizing a new generation of British activists. Masterfully tracing the reverberations on both sides of the Atlantic, Tuck chronicles how the personal transformation of the dynamic American leader played out on the international stage.

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Generations of Americans have debated the meaning of Abraham Lincoln's views on race and slavery. He issued the Emancipation Proclamation and supported a constitutional amendment to outlaw slavery, yet he also harbored grave doubts about the intellectual capacity of African Americans, publicly used the n-word until at least 1862, and favored permanent racial segregation. In this book--the first complete collection of Lincoln's important writings on both race and slavery--readers can explore these contradictions through Lincoln's own words. Acclaimed Harvard scholar and documentary filmmaker Henry Louis Gates, Jr., presents the full range of Lincoln's views, gathered from his private letters, speeches, official documents, and even race jokes, arranged chronologically from the late 1830s to the 1860s. Complete with definitive texts, rich historical notes, and an original introduction by Henry Louis Gates, Jr., this book charts the progress of a war within Lincoln himself. We witness his struggles with conflicting aims and ideas--a hatred of slavery and a belief in the political equality of all men, but also anti-black prejudices and a determination to preserve the Union even at the cost of preserving slavery. We also watch the evolution of his racial views, especially in reaction to the heroic fighting of black Union troops. At turns inspiring and disturbing, Lincoln on Race and Slavery is indispensable for understanding what Lincoln's views meant for his generation--and what they mean for our own.

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2023 PROSE Award in European History“An invaluable historical example of the creation of a scientific conception of race that is unlikely to disappear anytime soon.”—Washington Post“Reveals how prestigious natural scientists once sought physical explanations, in vain, for a social identity that continues to carry enormous significance to this day.”—Nell Irvin Painter, author of The History of White People“A fascinating, if disturbing, window onto the origins of racism.”—Publishers Weekly“To read [these essays] is to witness European intellectuals, in the age of the Atlantic slave trade, struggling, one after another, to justify atrocity.”—Jill Lepore, author of These Truths: A History of the United StatesIn 1739 Bordeaux’s Royal Academy of Sciences announced a contest for the best essay on the sources of “blackness.” What is the physical cause of blackness and African hair, and what is the cause of Black degeneration, the contest announcement asked. Sixteen essays, written in French and Latin, were ultimately dispatched from all over Europe. Documented on each page are European ideas about who is Black and why. Looming behind these essays is the fact that some four million Africans had been kidnapped and shipped across the Atlantic by the time the contest was announced.The essays themselves represent a broad range of opinions, which nonetheless circulate around a common theme: the search for a scientific understanding of the new concept of race. More important, they provide an indispensable record of the Enlightenment-era thinking that normalized the sale and enslavement of Black human beings.These never previously published documents survived the centuries tucked away in Bordeaux’s municipal library. Translated into English and accompanied by a detailed introduction and headnotes written by Henry Louis Gates, Jr., and Andrew Curran, each essay included in this volume lays bare the origins of anti-Black racism and colorism in the West.

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The art and artists of Harlem: Found Ways represent the place and its people, burnishing Harlem’s luster but never attempting to smooth its rough edges. The works in the exhibition span a variety of media to explore the invention of Harlem and, at the same time, reinvent it. Artists in the exhibition Harlem: Found Ways, at the Ethelbert Cooper Gallery of African & African American Art in Cambridge, MA, from 24 May to 15 July, 2017, included Dawoud Bey, Abigail DeVille, Glenn Ligon, Howard Tangye, Nari Ward, and Kehinde Wiley. The exhibition also included items from the Harlem Postcards project at The Studio Museum in Harlem.This catalog features essays, including a foreword by Henry Louis Gates, Jr., that contemplate the uniquely layered urban landscape of Harlem, a city within a city. Vibrantly illustrated with objects from the exhibition, the catalog itself is an important resource for students of contemporary African American art and of the city.

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The study of identity crosses all disciplinary borders to address such issues as the multiple interactions of race, class and gender in feminist, lesbian and gay studies, postcolonialism and globalization, and the interrelation of nationalism and ethnicity in ethnic and area studies. The work aims to disrupt the discourse of identity by exploring the formation of identities and problem of subjectivity. Scholars in literary criticism, anthropology, sociology and philosophy explore such topics as "Gypsies" in the Western imagination, the mobilization of the West in Chinese television, the lesbian identity and the woman's gaze in fashion photography, and the regulation of black women's bodies in early 20th-century urban areas. This collection of 20 articles brings together work by Michael Gorra and Judith Butler among others.

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An extraordinary collection of lyrics from rap’s first thirty years, a showcase of poetic depth and diversity “This landmark work chronicles an earth-shattering movement with deep roots.”—New York Times Book Review From the school yards of the South Bronx to the tops of the Billboard charts, rap has emerged as one of the most influential musical and cultural forces of our time. In The Anthology of Rap, editors Adam Bradley and Andrew DuBois explore rap as a literary form, demonstrating that rap is also a wide-reaching and vital poetic tradition born of beats and rhymes. This pioneering anthology brings together more than three hundred rap and hip-hop lyrics written over thirty years, from the “old school” to the “golden age” to the early 2000s. Rather than aim for encyclopedic coverage, Bradley and DuBois render through examples the richness and diversity of rap’s poetic tradition. They feature both classic lyrics that helped define the genre, including Grandmaster Flash & the Furious Five’s “The Message” and Eric B. & Rakim’s “Microphone Fiend,” as well as lesser-known gems like Blackalicious’s “Alphabet Aerobics” and Jean Grae’s “Hater’s Anthem.” Both a fan’s guide and a resource for the uninitiated, The Anthology of Rap showcases the inventiveness and vitality of rap’s lyrical art. The volume also features an overview of rap poetics and the forces that shaped each period in rap’s historical development, as well as a foreword by Henry Louis Gates, Jr., and afterwords by Chuck D and Common. Enter the Anthology to experience the full range of rap’s artistry and discover a rich poetic tradition hiding in plain sight.

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“Given the current political conditions, these lectures on race, ethnicity, and nation, delivered by Stuart Hall almost a quarter of a century ago, may be even more timely today.”—Angela Y. DavisIn this defining statement one of the founding figures of cultural studies reflects on the divisive, often deadly consequences of our contemporary politics of race and identity. As he untangles the power relations that permeate categories of race, ethnicity, and nationhood, Stuart Hall shows how old hierarchies of human identity were forcefully broken apart when oppressed groups introduced new meanings to the representation of difference.Hall challenges us to find more sustainable ways of living with difference, redefining nation, race, and identity.“Stuart Hall bracingly confronts the persistence of race—and its confounding liberal surrogates, ethnicity and nation…This is a profoundly humane work that…finds room for hope and change.”—Orlando Patterson“Stuart Hall’s written words were ardent, discerning, recondite, and provocative, his spoken voice lyrical, euphonious, passionate, at times rhapsodic and he changed the way an entire generation of critics and commentators debated issues of race and cultural difference.”—Henry Louis Gates, Jr.“Essential reading for those seeking to understand Hall’s tremendous impact on scholars, artists, and filmmakers on both sides of the Atlantic.”—Artforum

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The Revolt of African Slaves in Iraq in the III/IX Century is the only full-length study on the revolt o f the Zanj. Scholars of slavery, the African diaspora and th e Middle East have lauded Popovic''s work. '

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Landmark archaeological excavations that radically revise the early history of Africa.For the past fifty years, Charles Bonnet has been excavating sites in present-day Sudan and Egypt that point to the existence of a sophisticated ancient black African civilization thriving alongside the Egyptians. In The Black Kingdom of the Nile, he gathers the results of these excavations to reveal the distinctively indigenous culture of the black Nubian city of Kerma, the capital of the Kingdom of Kush. This powerful and complex political state organized trade to the Mediterranean basin and built up a military strong enough to resist Egyptian forces.Further explorations at Dukki Gel, north of Kerma, reveal a major Nubian fortified city of the mid-second millennium BCE featuring complex round and oval structures. Bonnet also found evidence of the revival of another powerful black Nubian society, seven centuries after Egypt conquered Kush around 1500 BCE, when he unearthed seven life-size granite statues of Black Pharaohs (ca. 744–656 BCE). Bonnet’s discoveries have shaken our understanding of the origins and sophistication of early civilization in the heart of black Africa.Until Bonnet began his work, no one knew the extent and power of the Nubian state or the existence of the Black Pharaohs who presided successfully over their lands. The political, military, and commercial achievements revealed in these Nubian sites challenge our long-held belief that the Egyptians were far more advanced than their southern neighbors and that black kingdoms were effectively vassal states. Charles Bonnet’s discovery of this lost black kingdom forces us to rewrite the early history of the African continent.

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After Reconstruction, African Americans found themselves free, yet largely excluded from politics, higher education, and the professions. Drawing on his professional research into political leadership and intellectual development in African American society, as well as his personal roots in the social-gospel teachings of black churches and at Lincoln University (PA), the political scientist Martin Kilson explores how a modern African American intelligentsia developed in the face of institutionalized racism. In this survey of the origins, evolution, and future prospects of the African American elite, Kilson makes a passionate argument for the ongoing necessity of black leaders in the tradition of W. E. B. Du Bois, who summoned the “Talented Tenth” to champion black progress.Among the many dynamics that have shaped African American advancement, Kilson focuses on the damage—and eventual decline—of color elitism among the black professional class, the contrasting approaches of Du Bois and Booker T. Washington, and the consolidation of an ethos of self-conscious racial leadership. Black leaders who assumed this obligation helped usher in the civil rights movement. But mingled among the fruits of victory are the persistent challenges of poverty and inequality. As the black intellectual and professional class has grown larger and more influential than ever, counting the President of the United States in its ranks, new divides of class and ideology have opened in African American communities. Kilson asserts that a revival of commitment to communitarian leadership is essential for the continued pursuit of justice at home and around the world.

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Excessive Exposure documents all the chocolate-colored portraits that Bronx-born artist Lyle Ashton Harris made with a large-format Polaroid camera over the past ten years. This sequence of approximately 200 paired front and back portraits, for which Harris has become so well known, has now come to a close, making this volume the definitive publication on the series. The portraits' subjects include Harris' family and friends, art-world personalities, noted cultural figures, celebrities and politicians. These images are further distinguished by a strategic blurring of conventional gender roles, sexual identities and racial categories, and by a refined use of light and shade. Okwui Enwezor contributes an essay analyzing Harris' portraits, situating these works in the context of the artist's work of the past 20 years, as well as in the broader history of the genre. The book also includes a conversation between Harris and artist Chuck Close that took place in 1999, when Harris was beginning the series. With a penetrating foreword by Henry Louis Gates, Jr., Excessive Exposure offers a wealth of superb portraiture and is destined to become a touchstone volume among photo-books.

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This abundantly illustrated book examines the figure of Balthazar, one of the biblical magi, and explains how and why he came to be depicted as a Black African king. According to the Gospel of Matthew, magi from the East, following a star, traveled to Jerusalem bearing precious gifts for the infant Jesus. The magi were revered as wise men and later as kings. Over time, one of the three came to be known as Balthazar and to be depicted as a Black man. Balthazar was familiar to medieval Europeans, appearing in paintings, manuscript illuminations, mosaics, carved ivories, and jewelry. But the origin story of this fascinating character uncovers intricate ties between Europe and Africa, including trade and diplomacy as well as colonization and enslavement. In this book, experts in the fields of Ethiopian, West African, Nubian, and Western European art explore the representation of Balthazar as a Black African king. They examine exceptional art that portrays the European fantasy of the Black magus while offering clues about the very real Africans who may have inspired these images. Along the way, the authors chronicle the Black presence in premodern Europe, where free and enslaved Black people moved through public spaces and courtly circles. The volume's lavish illustrations include selected works by contemporary artists who creatively challenge traditional depictions of Black history.

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“A fascinating, if disturbing, window onto the origins of racism.”—Publishers Weekly“The eighteenth-century essays published for the first time in Who’s Black and Why? contain a world of ideas—theories, inventions, and fantasies—about what blackness is, and what it means. To read them is to witness European intellectuals, in the age of the Atlantic slave trade, struggling, one after another, to justify atrocity.”—Jill Lepore, author of These Truths: A History of the United StatesThe first translation and publication of sixteen submissions to the notorious eighteenth-century Bordeaux essay contest on the cause of black skin—an indispensable chronicle of the rise of scientifically based, anti-Black racism.In 1739 Bordeaux’s Royal Academy of Sciences announced a contest for the best essay on the sources of “blackness.” What is the physical cause of blackness and African hair, and what is the cause of Black degeneration, the contest announcement asked. Sixteen essays, written in French and Latin, were ultimately dispatched from all over Europe. The authors ranged from naturalists to physicians, theologians to amateur savants. Documented on each page are European ideas about who is Black and why.Looming behind these essays is the fact that some four million Africans had been kidnapped and shipped across the Atlantic by the time the contest was announced. The essays themselves represent a broad range of opinions. Some affirm that Africans had fallen from God’s grace; others that blackness had resulted from a brutal climate; still others emphasized the anatomical specificity of Africans. All the submissions nonetheless circulate around a common theme: the search for a scientific understanding of the new concept of race. More important, they provide an indispensable record of the Enlightenment-era thinking that normalized the sale and enslavement of Black human beings.These never previously published documents survived the centuries tucked away in Bordeaux’s municipal library. Translated into English and accompanied by a detailed introduction and headnotes written by Henry Louis Gates, Jr., and Andrew Curran, each essay included in this volume lays bare the origins of anti-Black racism and colorism in the West.

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A provocative anthology on questions of hate speech and speech regulation designed to protect minorities At the University of Pennsylvania, a student is reprimanded for calling a group of African-American students water buffalo. Several prominent American law schools now request that professors abstain from discussing the legal aspects of rape for fear of offending students. As debates over multiculturalism and political correctness crisscross the land, no single issue has been more of a flash point in the ongoing culture wars than hate speech codes, which seek to restrict bigoted or offensive speech and punish those who engage in it. In this provocative anthology, a range of prominent voices argue that hate speech restrictions are not only dangerous, but counterproductive. The lessons of history indicate that speech regulation designed to protect minorities is destined to be used against them. Acknowledging the legitimacy of the concerns that prompt speech codes and combining support for civil liberties with an acute concern for civil tights issues, Speaking of Race, Speaking of Sex demonstrates that it is difficult, if not impossible, to draw the line between unprotected insults and protected ideas. Decrying such speech regulation as overly concerned with the symbols of racism rather than its realities, Speaking of Race, Speaking of Sex offers a balanced and well-reasoned perspective on one of the most controversial issues of our time.

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In the 1960s, art patrons Dominique and Jean de Menil founded an image archive showing the ways that people of African descent have been represented in Western art from the ancient world to modern times. Highlights from the image archive, accompanied by essays written by major scholars, appeared in three large‐format volumes, consisting of one or more books, that quickly became collector’s items. A half‐century later, Harvard University Press and the Du Bois Institute are proud to have republished five of the original books and five completely new ones, extending the series into the twentieth century.The Rise of Black Artists, the second of two books on the twentieth century and the final volume in The Image of the Black in Western Art, marks an essential shift in the series and focuses on representation of blacks by black artists in the West. This volume takes on important topics ranging from urban migration within the United States to globalization, to Négritude and cultural hybridity, to the modern black artist’s relationship with European aesthetic traditions and experimentation with new technologies and media. Concentrating on the United States, Europe, and the Caribbean, essays in this volume shed light on topics such as photography, jazz, the importance of political activism to the shaping of black identities, as well as the post-black art world.

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W. E. B. Du Bois was a public intellectual, sociologist, and activist on behalf of the African American community. He profoundly shaped black political culture in the United States through his founding role in the NAACP, as well as internationally through the Pan-African movement. Du Bois's sociological and historical research on African-American communities and culture broke ground in many areas, including the history of the post-Civil War Reconstruction period. Du Bois was also a prolific author of novels, autobiographical accounts, innumerable editorials and journalistic pieces, and several works of history. The Dark Princess is a story of magical love and radical politics, a romance facing obstacles in a white-dominated world. Du Bois's allegorical tale follows Mathew Townes from his political disillusionment to his association with a powerful and seductive revolutionary leader, Kautilya, the princess of the Tibetan Kingdom of Bwodpur. With Dark Princess, Du Bois explores the color line from a fantastical angle while inserting his signature sociological style. With a series introduction by editor Henry Louis Gates, Jr., and an introduction by Homi Bhahba, this edition is essential for anyone interested in African American history.

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Uncle Tom charts the dramatic cultural transformation of perhaps the most controversial literary character in American history. From his origins as the heroic, Christ-like protagonist of Harriet Beecher Stowe's anti-slavery novel, the best-selling book of the nineteenth century after the Bible, Uncle Tom has become a widely recognized epithet for a black person deemed so subservient to whites that he betrays his race. Readers have long noted that Stowe's character is not the traitorous sycophant that his name connotes today. Adena Spingarn traces his evolution in the American imagination, offering the first comprehensive account of a figure central to American conversations about race and racial representation from 1852 to the present. We learn of the radical political potential of the novel's many theatrical spinoffs even in the Jim Crow era, Uncle Tom's breezy disavowal by prominent voices of the Harlem Renaissance, and a developing critique of "Uncle Tom roles" in Hollywood. Within the stubborn American binary of black and white, citizens have used this rhetorical figure to debate the boundaries of racial difference and the legacy of slavery. Through Uncle Tom, black Americans have disputed various strategies for racial progress and defined the most desirable and harmful images of black personhood in literature and popular culture.

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In 1964, while on assignment for Newsweek magazine, photojournalist Elliott Erwitt spent a week in Cuba as a guest of Fidel Castro. There, he captured now-iconic photographs of the beloved Cuban president along with the revolutionary leader Che Guevara. Over 50 years later, coinciding with restored diplomatic relations between Cuba and the United States, Erwitt returned to document both its urban and rural landscapes, and -most prominently- the people of this fascinating nation. Presented in a book for the very first time, Erwitt's captivating black-and-white photographs offer an intimate look into this intriguing Caribbean island. From candid glimpses of Fidel Castro to Havana's breathtaking architectural details and scenes of rural life, Cuba reflects an in-depth visual exploration that unveils the heart and soul of the country. Complete with anecdotal recollections penned by Erwitt himself (for example, the time when Che Guevara offered him a box of cigars) and a compelling foreword written by Henry Louis Gates, Jr., this stunning tome isn't a mere chronicling of Cuba's people and places — it's a historical record of a nation in flux as it opens up to the rest of the world. Text in English, German, and French.

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Edited by Hollis Robbins and Henry Louis Gates, Jr; this collection comprises work from forty-nine writers arranged into sections of memoir, poetry and essays on feminism, education and the legacy of black women writers. Many of these pieces engage with social movements like abolition, women's suffrage, temperance and civil rights, but the thematic centre is black women's intellect and personal ambition. The diverse selection includes well-known writers like Sojourner Truth, Hannah Crafts and Harriet Jacobs, as well as lesser-known writers like Ella Sheppard, who offers a firsthand account of life in a world-famous singing group. Taken together, these incredible works insist that the writing of black women writers be read, remembered and addressed.

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A provocative anthology on questions of hate speech and speech regulation designed to protect minorities At the University of Pennsylvania, a student is reprimanded for calling a group of African-American students water buffalo. Several prominent American law schools now request that professors abstain from discussing the legal aspects of rape for fear of offending students. As debates over multiculturalism and political correctness crisscross the land, no single issue has been more of a flash point in the ongoing culture wars than hate speech codes, which seek to restrict bigoted or offensive speech and punish those who engage in it. In this provocative anthology, a range of prominent voices argue that hate speech restrictions are not only dangerous, but counterproductive. The lessons of history indicate that speech regulation designed to protect minorities is destined to be used against them. Acknowledging the legitimacy of the concerns that prompt speech codes and combining support for civil liberties with an acute concern for civil tights issues, Speaking of Race, Speaking of Sex demonstrates that it is difficult, if not impossible, to draw the line between unprotected insults and protected ideas. Decrying such speech regulation as overly concerned with the symbols of racism rather than its realities, Speaking of Race, Speaking of Sex offers a balanced and well-reasoned perspective on one of the most controversial issues of our time.

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In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.The new edition of From the Pharaohs to the Fall of the Roman Empire offers a comprehensive look at the fascinating and controversial subject of the representation of black people in the ancient world. Classic essays by distinguished scholars are aptly contextualized by Jeremy Tanner’s new introduction, which guides the reader through enormous changes in the field in the wake of the “Black Athena” story.

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In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.Slaves and Liberators looks at the political implications of the representation of Africans, from the earliest discussions of the morality of slavery, through the rise of abolitionism, to the imposition of European imperialism on Africa. Popular imagery and great works, like Gericault’s Raft of the Medusa and Turner’s Slave Ship, are considered in depth, casting light on widely differing European responses to Africans and their descendants.

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A newly edited collection of the seminal writings and speeches of a legendary writer, orator, and civil rights leader.The life of Frederick Douglass is nothing less than the history of America in the 19th century from slavery to reconstruction. His influence was felt in the political sphere, major social movements, literary culture, and even international affairs. His resounding words tell not only his own remarkable story, but also that of a burgeoning nation forced to reckon with its tremulous moral ground. This compact volume offers a full course on a necessary historical figure, giving voice once again to a man whose guiding words are needed now as urgently as ever. The Portable Frederick Douglass includes the full range of Douglass's writings, from autobiographical writings that span from his life as a slave child to his memories of slavery as an elder statesman in the late 1870s; his protest fiction (one of the first works of African American fiction); his brilliant oratory, constituting the greatest speeches of the Civil War era, which launched his political career; and his journalistic essays that range from cultural and political critique toart, literature, law, history, philosophy, and reform.

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The Image of the Black in African and Asian Art asks how the black figure was depicted by artists from the non-Western world. Beginning with ancient Egypt—positioned properly as part of African history—this volume focuses on the figure of the black as rendered by artists from Africa, East Asia, and the Indian subcontinent. The aesthetic traditions illustrated here are as diverse as the political and social histories of these regions. From Igbo Mbari sculptures to modern photography from Mali, from Indian miniatures to Japanese prints, African and Asian artists portrayed the black body in ways distinct from the European tradition, even as they engaged with Western art through the colonial encounter and the forces of globalization.This volume complements the vision of art patrons Dominique and Jean de Menil who, during the 1960s, founded an image archive to collect the ways that people of African descent have been represented in Western art from the ancient world to modern times. A half‐century later, Harvard University Press and the Hutchins Center for African and African American Research completed the historic publication of The Image of the Black in Western Art—ten books in total—beginning with Egyptian antiquities and concluding with images that span the twentieth century. The Image of the Black in African and Asian Art reinvigorates the de Menil family’s original mission and reorients the study of the black body with a new focus on Africa and Asia.

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Originally published in 1923, Jean Toomer’s Cane remains an innovative literary work—part drama, party poetry, part fiction. This revised Norton Critical Edition builds upon the First Edition (1988), which was edited by the late Darwin T. Turner, a pioneering scholar in the field of African American studies. The Second Edition begins with the editors’ introduction, a major work of scholarship that places Toomer within the context of American Modernism and the Harlem Renaissance. The introduction provides groundbreaking biographical information on Toomer and examines his complex, contradictory racial position as well as his own pioneering views on race. Illustrative materials include government documents containing contradictory information on Toomer’s race, several photographs of Toomer, and a map of Sparta, Georgia—the inspiration for the first and third parts of Cane. The edition reprints the 1923 foreword to Cane by Toomer’s friend Waldo Frank, which helped introduce Toomer to a small but influential readership. Revised and expanded explanatory annotations are also included. “Backgrounds and Sources” collects a wealth of autobiographical writing that illuminates important phases in Jean Toomer’s intellectual life, including a central chapter from The Wayward and the Seeking and Toomer’s essay on teaching the philosophy of Russian psychologist and mystic Georges I. Gurdjieff, “Why I Entered the Gurdjieff Work.” The volume also reprints thirty of Toomer’s letters from 1919–30, the height of his literary career, to correspondents including Waldo Frank, Sherwood Anderson, Claude McKay, Horace Liveright, Georgia O’Keeffe, and James Weldon Johnson. An unusually rich “Criticism” section demonstrates deep and abiding interest in Cane. Five contemporary reviews—including those by Robert Littell and W. E. B. Du Bois and Alain Locke—suggest its initial reception. From the wealth of scholarly commentary on Cane, the editors have chosen twenty-one major interpretations spanning eight decades including those by Langston Hughes, Robert Bone, Darwin T. Turner, Charles T. Davis, Alice Walker, Gayl Jones, Barbara Foley, Mark Whalan, and Nellie Y. McKay. A Chronology, new to the Second Edition, and an updated Selected Bibliography are also included.

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In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.Europe and the World Beyond focuses geographically on peoples of South America and the Mediterranean as well as Africa—but conceptually it emphasizes the many ways that visual constructions of blacks mediated between Europe and a faraway African continent that was impinging ever more closely on daily life, especially in cities and ports engaged in slave trade.

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In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.Europe and the World Beyond focuses geographically on peoples of South America and the Mediterranean as well as Africa—but conceptually it emphasizes the many ways that visual constructions of blacks mediated between Europe and a faraway African continent that was impinging ever more closely on daily life, especially in cities and ports engaged in slave trade.The Eighteenth Century features a particularly rich collection of images of Africans representing slavery’s apogee and the beginnings of abolition. Old visual tropes of a master with adoring black slave gave way to depictions of Africans as victims and individuals, while at the same time the intellectual foundations of scientific racism were established.

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In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.The much-awaited Artists of the Renaissance and Baroque has been written by an international team of distinguished scholars, and covers the sixteenth and seventeenth centuries. The rise of slavery and the presence of black people in Europe irrevocably affected the works of the best artists of the time. Essays on the black Magus and the image of the black in Italy, Spain, and Britain, with detailed studies of Rembrandt and Heliodorus’s Aethiopica, all presented with superb color plates, make this new volume a worthy addition to this classic series.

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New to Penguin Classics, one of the most influential works of Black social criticism ever written The Mis-education of the Negro is today considered one of the most influential works by 'the father of Black history', Carter G. Woodson, setting the table for generations of antiracist teaching pioneered by Black educators.As both student and teacher, Woodson witnessed the distortions of Black life in the history and literature taught in schools and universities. He believed that there was a relationship between these distortions and the violence that circumscribed Black life in the material world, declaring, "There would be no lynching it if did not start in the schoolroom." Mixing social criticism, history, theory and memoir, The Mis-education of the Negro argues cogently that students, teachers, and leaders needed to be educated in a manner that was accountable to Black experiences and lived realities, both past and present.

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A collection of essential writings from the iconic foremother of Black intellectual history, feminism and activismThe Portable Anna Julia Cooper will introduce a new generation of readers to an educator, public intellectual and community activist whose prescient insights and eloquent prose underlie some of the most important developments in modern American intellectual thought and African-American social and political activism.This volume brings together, for the first time, Anna Julia Cooper's major collection of essays, A Voice from the South, along with several previously unpublished poems, plays, journalism and selected correspondences, including over thirty previously unpublished letters between Anna Julia Cooper and W. E. B. Du Bois.

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In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.Black Models and White Myths examines the tendentious racial assumptions behind representations of Africans that emphasized the contrast between “civilization” and “savagery” and the development of so-called scientific and ethnographic racism. These works often depicted Africans within a context of sexuality and exoticism, representing their allegedly natural behavior as a counterpoint to inhibited European conduct.

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In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector’s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.From the Demonic Threat to the Incarnation of Sainthood, written largely by noted French scholar Jean Devisse, has established itself as a classic in the field of medieval art. It surveys as never before the presence of black people, mainly mythical, in art from the early Christian era to the fourteenth century. The extraordinary transformation of Saint Maurice into a black African saint, the subject of many noble and deeply touching images, is a highlight of this volume. The new introduction by Paul Kaplan provides a fresh perspective on the image of the black in medieval European art and contextualizes the classic essays on the subject.

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First published in 1923, Jean Toomer’s Cane is an innovative literary work—part drama, part poetry, part fiction—powerfully evoking black life in the South. Rich in imagery, Toomer’s impressionistic, sometimes surrealistic sketches of Southern rural and urban life are permeated by visions of smoke, sugarcane, dusk, and fire; the northern world is pictured as a harsher reality of asphalt streets. This iconic work of American literature is published with a new afterword by Rudolph Byrd of Emory University and Henry Louis Gates Jr. of Harvard University, who provide groundbreaking biographical information on Toomer, place his writing within the context of American modernism and the Harlem Renaissance, and examine his shifting claims about his own race and his pioneering critique of race as a scientific or biological concept.

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In the 1960s, art patrons Dominique and Jean de Menil founded an image archive showing the ways that people of African descent have been represented in Western art from the ancient world to modern times. Highlights from the image archive, accompanied by essays written by major scholars, appeared in three large-format volumes, consisting of one or more books, that quickly became collector's items. A half-century later, Harvard University Press and the Du Bois Institute are proud to have republished five of the original books and to present five completely new ones, extending the series into the twentieth century.The Impact of Africa, the first of two books on the twentieth century, looks at changes in the Western perspective on African art and the representation of Africans, and the paradox of their interpretation as simultaneously "primitive" and "modern." The essays include topics such as the new medium of photography, African influences on Picasso and on Josephine Baker's impression of 1920s Paris, and the influential contribution of artists from the Caribbean and Latin American diasporas.

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