History
Named one of the ten best books of the year by the Chicago Tribune
A Publishers Weekly best book of 2019 A 2019 NPR Staff Pick
A pathbreaking history of the United States' overseas possessions and the true meaning of its empire
Perhaps no other symbol has more resonance in African American history than that of 40 acres and a mule--the lost promise of Black reparations for slavery after the Civil War. In I've Been Here All the While, we meet the Black people who actually received this mythic 40 acres, the American settlers who coveted this land, and the Native Americans whose holdings it originated from.
In nineteenth-century Indian Territory (modern-day Oklahoma), a story unfolds that ties African American and Native American history tightly together, revealing a western theatre of Civil War and Reconstruction, in which Cherokee, Choctaw, Chickasaw, Creek, and Seminole Indians, their Black slaves, and African Americans and whites from the eastern United States fought military and rhetorical battles to lay claim to land that had been taken from others. Through chapters that chart cycles of dispossession, land seizure, and settlement in Indian Territory, Alaina E. Roberts draws on archival research and family history to upend the traditional story of Reconstruction. She connects debates about Black freedom and Native American citizenship to westward expansion onto Native land. As Black, white, and Native people constructed ideas of race, belonging, and national identity, this part of the West became, for a short time, the last place where Black people could escape Jim Crow, finding land and exercising political rights, until Oklahoma statehood in 1907.Juneteenth has been touted as a national day celebrating the end of slavery. Observances from coast to coast have turned this event into part of the national conversation about race, slavery, and how Americans understand, acknowledge, and explain what has been called the national "original sin."But, why Juneteenth? Where did this celebration-which promises to become a national holiday-come from? What is the origin story? What are the facts, and legends, around this important day in the nation's history?This is the first scholarly book to delve into the history behind Juneteenth. Using decades of research in archives around the nation, this book helps separate myth from reality and tells the story behind the celebration in a way that provides new understanding and appreciation for the event. This book will captivate people interested in the history of emancipation and African American history but also those interested in Civil War and Texas history. As the United States continues to wrestle with race relations and the meaning of full equality, Juneteenth promises to become an important expression of that equality-an Independence Day celebration in its own right, a couple of weeks in advance of the traditional July 4th Holiday. This book will be a welcome addition to classrooms, book clubs and general readers interested in this once obscure regional event now destined for the national spotlight.
we must look hard at them.
ONE OF THE TEN BEST BOOKS OF THE YEAR: Chicago Tribune, The Philadelphia Inquirer, The Dallas Morning News, Publishers Weekly "Gorgeous essays that reveal the resilience, heartbreak, and joy within Black performance."--Brit Bennett, #1 New York Times bestselling author of The Vanishing Half "I was a devil in other countries, and I was a little devil in America, too." Inspired by these few words, spoken by Josephine Baker at the 1963 March on Washington, MacArthur "Genius Grant" Fellow and bestselling author Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines--whether it's the twenty-seven seconds in "Gimme Shelter" in which Merry Clayton wails the words "rape, murder," a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt--has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib's own personal history of love, grief, and performance. Touching on Michael Jackson, Patti LaBelle, Billy Dee Williams, the Wu-Tan Clan, Dave Chappelle, and more, Abdurraqib writes prose brimming with jubilation and pain. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space--from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio. WINNER OF THE ANDREW CARNEGIE MEDAL AND THE GORDON BURN PRIZE - FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD AND THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD ONE OF THE BEST BOOKS OF THE YEAR: The New York Times Book Review, Time, The Boston Globe, NPR, Rolling Stone, Esquire, BuzzFeed, Thrillist, She Reads, BookRiot, BookPage, Electric Lit, The Rumpus, LitHub, Library Journal, Booklist
At the March on Washington in 1963, Josephine Baker was fifty-seven years old, well beyond her most prolific days. But in her speech she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. Inspired by these few words, Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt—has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance.
Abdurraqib writes prose brimming with jubilation and pain, infused with the lyricism and rhythm of the musicians he loves. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space—from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio.