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AVENGERS OF THE NEW WORLD: THE

AVENGERS OF THE NEW WORLD: THE

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The first and only successful slave revolution in the Americas began in 1791 when thousands of brutally exploited slaves rose up against their masters on Saint-Domingue, the most profitable colony in the eighteenth-century Atlantic world. Within a few years, the slave insurgents forced the French administrators of the colony to emancipate them, a decision ratified by revolutionary Paris in 1794. This victory was a stunning challenge to the order of master/slave relations throughout the Americas, including the southern United States, reinforcing the most fervent hopes of slaves and the worst fears of masters.

But, peace eluded Saint-Domingue as British and Spanish forces attacked the colony. A charismatic ex-slave named Toussaint Louverture came to France's aid, raising armies of others like himself and defeating the invaders. Ultimately Napoleon, fearing the enormous political power of Toussaint, sent a massive mission to crush him and subjugate the ex-slaves. After many battles, a decisive victory over the French secured the birth of Haiti and the permanent abolition of slavery from the land. The independence of Haiti reshaped the Atlantic world by leading to the French sale of Louisiana to the United States and the expansion of the Cuban sugar economy.

Laurent Dubois weaves the stories of slaves, free people of African descent, wealthy whites, and French administrators into an unforgettable tale of insurrection, war, heroism, and victory. He establishes the Haitian Revolution as a foundational moment in the history of democracy and human rights.

Chicago Avant Garde: Five Women Ahead of Their Time
Chicago Avant Garde: Five Women Ahead of Their Time

Chicago Avant Garde: Five Women Ahead of Their Time

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Chicago Avant-Garde tells the story of five women who took radical risks in their lives and in their art: artist Gertrude Abercrombie, poet Gwendolyn Brooks, choreographers Katherine Dunham and Ruth Page, and dealer-curator Katharine Kuh. Inspired and challenged by Chicago, they helped transform the city into a hub of avant-garde experimentation.

This catalog accompanies an exhibition opening at the Newberry Library on September 10, 2021. Designed by graphic artists Nick Butcher and Nadine Nakanishi of Sonnenzimmerand letterpress printer Ben BlountChicago Avant-Garde includes more than 100 photographs, an engaging and deeply researched essay by Liesl Olson (Director of Chicago Studies at the Newberry), and powerful new poems dedicated to each of the five avant-gardists by Chicago-based poet and educator Eve L. Ewing

This book will be available in late summer 2021 through the Newberry Bookshop. If preordering, your credit card will not be billed until your copy of the book is ready to ship.

CHICAGO RENAISSANCE: LITERATURE

Chicago Renaissance: Literature and Art in the Midwest Metropolis

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A fascinating history of Chicago's innovative and invaluable contributions to American literature and art from the late nineteenth to the mid-twentieth century

This remarkable cultural history celebrates the great Midwestern city of Chicago for its centrality to the modernist movement. Author Liesl Olson traces Chicago's cultural development from the 1893 World's Fair through mid-century, illuminating how Chicago writers revolutionized literary forms during the first half of the twentieth century, a period of sweeping aesthetic transformations all over the world. From Harriet Monroe, Carl Sandburg, and Ernest Hemingway to Richard Wright and Gwendolyn Brooks, Olson's enthralling study bridges the gap between two distinct and equally vital Chicago-based artistic "renaissance" moments: the primarily white renaissance of the early teens, and the creative ferment of Bronzeville. Stories of the famous and iconoclastic are interwoven with accounts of lesser-known yet influential figures in Chicago, many of whom were women. Olson argues for the importance of Chicago's editors, bookstore owners, tastemakers, and ordinary citizens who helped nurture Chicago's unique culture of artistic experimentation.

Cover art by Lincoln Schatz

ESSENTIAL GWENDOLYN BROOKS

ESSENTIAL GWENDOLYN BROOKS

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Discover the most enduring works of legendary poet Gwendolyn Brooks--the first black author to win a Pulitzer Prize--in one collectible volume

If you wanted a poem, wrote Gwendolyn Brooks, you only had to look out of a window. There was material always, walking or running, fighting or screaming or singing. From the life of Chicago's South Side she made a forceful and passionate poetry that fused Modernist aesthetics with African-American cultural tradition, a poetry that registered the life of the streets and the upheavals of the 20th century. Starting with A Street in Bronzeville (1945), her epoch-making debut volume, The Essential Gwendolyn Brooks traces the full arc of her career in all its ambitious scope and unexpected stylistic shifts.

Her formal range, writes editor Elizabeth Alexander, is most impressive, as she experiments with sonnets, ballads, spirituals, blues, full and off-rhymes. She is nothing short of a technical virtuoso. That technical virtuosity was matched by a restless curiosity about the life around her in all its explosive variety. By turns compassionate, angry, satiric, and psychologically penetrating, Gwendolyn Brooks's poetry retains its power to move and surprise.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today's most discerning poets and critics.

From #Blacklivesmatter to Black Liberation

From #Blacklivesmatter to Black Liberation

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Winner of the 2016 Lannan Cultural Freedom Prize for an Especially Notable Book

"Keeanga-Yamahtta Taylor's searching examination of the social, political and economic dimensions of the prevailing racial order offers important context for understanding the necessity of the emerging movement for black liberation."
--Michelle Alexander

The eruption of mass protests in the wake of the police murders of Michael Brown in Ferguson, Missouri and Eric Garner in New York City have challenged the impunity with which officers of the law carry out violence against Black people and punctured the illusion of a postracial America. The Black Lives Matter movement has awakened a new generation of activists.

In this stirring and insightful analysis, activist and scholar Keeanga-Yamahtta Taylor surveys the historical and contemporary ravages of racism and persistence of structural inequality such as mass incarceration and Black unemployment. In this context, she argues that this new struggle against police violence holds the potential to reignite a broader push for Black liberation.
Home Front Daily life in the Civil War

Home Front: Daily Life in the Civil War

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More than one hundred and fifty years after Confederates fired on Fort Sumter, the Civil War still occupies a prominent place in the national collective memory. Paintings and photographs, plays and movies, novels, poetry, and songs portray the war as a battle over the future of slavery, often focusing on Lincoln's determination to save the Union, or highlighting the brutality of brother fighting brother. Battles and battlefields occupy us, too: Bull Run, Antietam, and Gettysburg all conjure up images of desolate landscapes strewn with war dead. Yet the frontlines were not the only landscapes of the war. Countless civilians saw their daily lives upended while the entire nation suffered.

Home Front: Daily Life in the Civil War North reveals this side of the war as it happened, comprehensively examining the visual culture of the Northern home front. Through contributions from leading scholars from across the humanities, we discover how the war influenced household economies and the cotton economy; how the absence of young men from the home changed daily life; how war relief work linked home fronts and battle fronts; why Indians on the frontier were pushed out of the riven nation's consciousness during the war years; and how wartime landscape paintings illuminated the nation's past, present, and future.

A companion volume to a collaborative exhibition organized by the Newberry Library and the Terra Foundation for American Art, Home Front is the first book to expose the visual culture of a world far removed from the horror of war yet intimately bound to it.

Human Rights in the Maya Region: Global Politics, Cultural Contentions, and Moral Engagements

Human Rights in the Maya Region: Global Politics, Cultural Contentions, and Moral Engagements

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In recent years Latin American indigenous groups have regularly deployed the discourse of human rights to legitimate their positions and pursue their goals. Perhaps nowhere is this more evident than in the Maya region of Chiapas and Guatemala, where in the last two decades indigenous social movements have been engaged in ongoing negotiations with the state, and the presence of multinational actors has brought human rights to increased prominence. In this volume, scholars and activists examine the role of human rights in the ways that states relate to their populations, analyze conceptualizations and appropriations of human rights by Mayans in specific localities, and explore the relationship between the individualist and "universal" tenets of Western-derived concepts of human rights and various Mayan cultural understandings and political subjectivities

The collection includes a reflection on the effects of truth-finding and documenting particular human rights abuses, a look at how Catholic social teaching validates the human rights claims advanced by indigenous members of a diocese in Chiapas, and several analyses of the limitations of human rights frameworks. A Mayan intellectual seeks to bring Mayan culture into dialogue with western feminist notions of women's rights, while another contributor critiques the translation of the United Nations Declaration of Human Rights into Tzeltal, an indigenous language in Chiapas. Taken together, the essays reveal a broad array of rights-related practices and interpretations among the Mayan population, demonstrating that global-local-state interactions are complex and diverse even within a geographically limited area. So too are the goals of indigenous groups, which vary from social reconstruction and healing following years of violence to the creation of an indigenous autonomy that challenges the tenets of neoliberalism.

Contributors: Robert M. Carmack, Stener Ekern, Christine Kovic, Xochitl Leyva Solano, Julián López García, Irma Otzoy, Pedro Pitarch, Álvaro Reyes, Victoria Sanford, Rachel Sieder, Shannon Speed, Rodolfo Stavenhagen, David Stoll, Richard Ashby Wilson

I've Been Here All the While: Black Freedom on Native Land

I've Been Here All the While: Black Freedom on Native Land

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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.

Jeffrey Gibson: Like a Hammer

Jeffrey Gibson: Like a Hammer

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Featuring work from the past decade by Jeffrey Gibson, one of America's most prominent contemporary artists, this monograph shows how he blends American Indian and Western cultural influences and explores issues of identity, alternative sub-cultures, post-colonialism, and marginalization.

A citizen of the Mississippi Choctaw Nation and part Cherokee, Jeffrey Gibson spent time in Germany, England, and Korea in his youth. This mix of cultures informs much of his work, which combines elements from historical and contemporary Native arts and traditions, such as powwow regalia and the use of animal skins, with those from the artistic traditions of Modernism, Geometric Abstraction, and Minimalism. As a gay Native artist, Gibson explores in his work issues of oppression and civil rights in America, as well as universal ideas of love, community, strength, vulnerability, and survival. This magnificent volume focuses on nearly 60 works completed in the last decade, including culturally adorned punching bags, three-dimensional figurative works, text-based wall hangings, painted works on rawhide and canvas, and light and video works.
Published in association with the Denver Art Museum

A citizen of the Mississippi Choctaw Nation and part Cherokee, Jeffrey Gibson spent time in Germany, England, and Korea in his youth. This mix of cultures informs much of his work, which combines elements from historical and contemporary Native arts and traditions, such as powwow regalia and the use of animal skins, with those from the artistic traditions of Modernism, Geometric Abstraction, and Minimalism. As a gay Native artist, Gibson explores in his work issues of oppression and civil rights in America, as well as universal ideas of love, community, strength, vulnerability, and survival. This magnificent volume focuses on nearly 60 works completed in the last decade, including culturally adorned punching bags, three-dimensional figurative works, text-based wall hangings, painted works on rawhide and canvas, and light and video works.

Katherine Dunham: Dance and the African Diaspora

Katherine Dunham: Dance and the African Diaspora

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One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance
company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. Through both her company and her schools, she influenced generations of performers for years to come, from Alvin Ailey to Marlon Brando to Eartha Kitt. Dunham was also one of the first
choreographers to conduct anthropological research about dance and translate her findings for the theatrical stage.

Katherine Dunham: Dance and the African Diaspora makes the argument that Dunham was more than a dancer-she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history
and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life.

Author Joanna Dee Das examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. The book analyzes Dunham's multiple spheres of engagement, assessing her dance performances as a form of black feminist
protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and her network of interlocutors that included figures as diverse as ballet choreographer George Balanchine and Senegalese president Léopold Sédar Senghor. It traces Dunham's influence
over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond.

By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora offers new insight about how this remarkable woman built political solidarity through the arts.

LATINA/O MIDWEST READER

LATINA/O MIDWEST READER

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From 2000 to 2010, the Latino population increased by more than 73 percent across eight midwestern states. These interdisciplinary essays explore issues of history, education, literature, art, and politics defining today's Latina/o Midwest. Some contributors delve into the Latina/o revitalization of rural areas, where communities have launched bold experiments in dual-language immersion education while seeing integrated neighborhoods, churches, and sports teams become the norm. Others reveal metro areas as laboratories for emerging Latino subjectivities, places where for some, the term Latina/o itself corresponds to a new type of lived identity as different Latina/o groups interact in shared neighborhoods, schools, and workplaces.

Eye-opening and provocative, The Latina/o Midwest Reader rewrites the conventional wisdom on today's Latina/o community and how it faces challenges--and thrives--in the heartland.

Contributors: Aidé Acosta, Frances R. Aparicio, Jay Arduser, Jane Blocker, Carolyn Colvin, María Eugenia Cotera, Theresa Delgadillo, Lilia Fernández, Claire F. Fox, Felipe Hinojosa, Michael D. Innis-Jiménez, José E. Limón, Marta María Maldonado, Louis G. Mendoza, Amelia María de la Luz Montes, Kim Potowski, Ramón H. Rivera-Servera, Rebecca M. Schreiber, Omar Valerio-Jiménez, Santiago Vaquera-Vásquez, Darrel Wanzer-Serrano, Janet Weaver, and Elizabeth Willmore

Moby-Dick or The Whale

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Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership

Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership

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LONGLISTED FOR THE 2019 NATIONAL BOOK AWARD
FINALIST, 2020 PULITZER PRIZE IN HISTORY

By 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.

Until Justice Be Done: America's First Civil Rights Movement, from the Revolution to Reconstruction

Until Justice Be Done: America's First Civil Rights Movement, from the Revolution to Reconstruction

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The half-century before the Civil War was beset with conflict over equality as well as freedom. Beginning in 1803, many free states enacted laws that discouraged free African Americans from settling within their boundaries and restricted their rights to testify in court, move freely from place to place, work, vote, and attend public school. But over time, African American activists and their white allies, often facing mob violence, courageously built a movement to fight these racist laws. They countered the states' insistences that states were merely trying to maintain the domestic peace with the equal-rights promises they found in the Declaration of Independence and the Constitution. They were pastors, editors, lawyers, politicians, ship captains, and countless ordinary men and women, and they fought in the press, the courts, the state legislatures, and Congress, through petitioning, lobbying, party politics, and elections. Long stymied by hostile white majorities and unfavorable court decisions, the movement's ideals became increasingly mainstream in the 1850s, particularly among supporters of the new Republican party. When Congress began rebuilding the nation after the Civil War, Republicans installed this vision of racial equality in the 1866 Civil Rights Act and the Fourteenth Amendment. These were the landmark achievements of the first civil rights movement.

Kate Masur's magisterial history delivers this pathbreaking movement in vivid detail. Activists such as John Jones, a free Black tailor from North Carolina whose opposition to the Illinois "black laws" helped make the case for racial equality, demonstrate the indispensable role of African Americans in shaping the American ideal of equality before the law. Without enforcement, promises of legal equality were not enough. But the antebellum movement laid the foundation for a racial justice tradition that remains vital to this day.

We Are the Land: A History of Native California

We Are the Land: A History of Native California

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"A Native American rejoinder to Richard White and Jesse Amble White's California Exposures."--Kirkus Reviews

Rewriting the history of California as Indigenous.

Before there was such a thing as "California," there were the People and the Land. Manifest Destiny, the Gold Rush, and settler colonial society drew maps, displaced Indigenous People, and reshaped the land, but they did not make California. Rather, the lives and legacies of the people native to the land shaped the creation of California. We Are the Land is the first and most comprehensive text of its kind, centering the long history of California around the lives and legacies of the Indigenous people who shaped it. Beginning with the ethnogenesis of California Indians, We Are the Land recounts the centrality of the Native presence from before European colonization through statehood--paying particularly close attention to the persistence and activism of California Indians in the late twentieth and early twenty-first centuries. The book deftly contextualizes the first encounters with Europeans, Spanish missions, Mexican secularization, the devastation of the Gold Rush and statehood, genocide, efforts to reclaim land, and the organization and activism for sovereignty that built today's casino economy. A text designed to fill the glaring need for an accessible overview of California Indian history, We Are the Land will be a core resource in a variety of classroom settings, as well as for casual readers and policymakers interested in a history that centers the native experience.