Search results for ""author keeanga-yamahtta taylor""

LONGLISTED FOR THE 2019 NATIONAL BOOK AWARDBy the late 1960s and early 1970s, reeling from a wave of urban uprisings, politicians finally worked to end the practice of redlining. Reasoning that the turbulence could be calmed by turning Black city-dwellers into homeowners, they passed the Housing and Urban Development Act of 1968, and set about establishing policies to induce mortgage lenders and the real estate industry to treat Black homebuyers equally. The disaster that ensued revealed that racist exclusion had not been eradicated, but rather transmuted into a new phenomenon of predatory inclusion. Race for Profit uncovers how exploitative real estate practices continued well after housing discrimination was banned. The same racist structures and individuals remained intact after redlining's end, and close relationships between regulators and the industry created incentives to ignore improprieties. Meanwhile, new policies meant to encourage low-income homeownership created new methods to exploit Black homeowners. The federal government guaranteed urban mortgages in an attempt to overcome resistance to lending to Black buyers - as if unprofitability, rather than racism, was the cause of housing segregation. Bankers, investors, and real estate agents took advantage of the perverse incentives, targeting the Black women most likely to fail to keep up their home payments and slip into foreclosure, multiplying their profits. As a result, by the end of the 1970s, the nation's first programs to encourage Black homeownership ended with tens of thousands of foreclosures in Black communities across the country. The push to uplift Black homeownership had descended into a goldmine for realtors and mortgage lenders, and a ready-made cudgel for the champions of deregulation to wield against government intervention of any kind. Narrating the story of a sea-change in housing policy and its dire impact on African Americans, Race for Profit reveals how the urban core was transformed into a new frontier of cynical extraction.

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On April 18, 2015, the city of Baltimore erupted in mass protests in response to the brutal murder of Freddie Gray by police. Devin Allen was there, and his iconic photos of the Baltimore uprising became a viral sensation. In these stunning photographs, Allen documents the uprising as he strives to capture the life of his city and the people who live there. Each photo reveals the personality, beauty, and spirit of Baltimore and its people, as his camera complicates popular ideas about the "ghetto." Allen's camera finds hope and beauty doing battle against a system that sows desperation and fear, and above all, resistance, to the unrelenting pressures of racism and poverty in a twenty-first-century American city.

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"The centuries-long attack on Black history represents a strike against our very worth, brilliance, and value. We’re ready to fight back. And when we fight, we win." —Colin KaepernickSince its founding as a discipline, Black Studies has been under relentless attack by social and political forces seeking to discredit and neutralize it. Our History Has Always Been Contraband was born out of an urgent need to respond to the latest threat: efforts to remove content from an AP African American Studies course being piloted in high schools across the United States. Edited by Colin Kaepernick, Robin D. G. Kelley, and Keeanga-Yamahtta Taylor, Our History Has Always Been Contraband brings together canonical texts and authors in Black Studies, including those excised from or not included in the AP curriculum.Featuring writings by: David Walker, Frederick Douglass, Anna Julia Cooper, Zora Neale Hurston, W. E. B. Du Bois, C. L. R. James, James Baldwin, June Jordan, Angela Y. Davis, Robert Allen, Barbara Smith, Toni Cade Bambara, bell hooks, Barbara Christian, Patricia Hill Collins, Cathy J. Cohen, Kimberlé Crenshaw, Saidiya Hartman, Khalil Gibran Muhammad, and many others.Our History Has Always Been Contraband excerpts readings that cut across and between literature, political theory, law, psychology, sociology, gender and sexuality studies, queer and feminist theory, and history. This volume also includes original essays by editors Kaepernick, Kelley, and Taylor, elucidating how we got here, and pieces by Brea Baker, Marlon Williams-Clark, and Roderick A. Ferguson detailing how we can fight back.To read Our History Has Always Been Contraband is to be an outlaw for liberation. These writings illuminate the ways we can collectively work toward freedom for all—through abolition, feminism, racial justice, economic empowerment, self-determination, desegregation, decolonization, reparations, queer liberation, cultural and artistic expression, and beyond.

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In the midst of loss and death and suffering, our charge is to figure out what freedom really means—and how we take steps to get there. “In the United States, being poor and Black makes you more likely to get sick. Being poor, Black, and sick makes you more likely to die. Your proximity to death makes you disposable.” The uprising of 2020 marked a new phase in the unfolding Movement for Black Lives. The brutal killings of Ahmaud Arbery, George Floyd, and Breonna Taylor, and countless other injustices large and small, were the match that lit the spark of the largest protest movement in US history, a historic uprising against racism and the politics of disposability that the Covid-19 pandemic lays bare. In this urgent and incisive collection of new interviews bookended by two new essays, Marc Lamont Hill critically examines the “pre-existing conditions” that have led us to this moment of crisis and upheaval, guiding us through both the perils and possibilities, and helping us imagine an abolitionist future.

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Saidiya Hartman has been praised as “one of our most brilliant contemporary thinkers” (Claudia Rankine, New York Times Book Review) and “a lodestar for a generation of students and, increasingly, for politically engaged people outside the academy” (Alexis Okeowo, The New Yorker). In Scenes of Subjection—Hartman’s first book, now revised and expanded—her singular talents and analytical framework turn away from the “terrible spectacle” and toward the forms of routine terror and quotidian violence characteristic of slavery, illuminating the intertwining of injury, subjugation, and selfhood even in abolitionist depictions of enslavement. By attending to the withheld and overlooked at the margins of the historical archive, Hartman radically reshapes our understanding of history, in a work as resonant today as it was on first publication, now for a new generation of readers. This 25th anniversary edition features a new preface by the author, a foreword by Keeanga-Yamahtta Taylor, an afterword by Marisa J. Fuentes and Sarah Haley, notations with Cameron Rowland, and compositions by Torkwase Dyson.

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