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In this cinematic memoir, follow one man's journey from gang member to Black liberation leader to political prisoner–and the justice and redemption he fought for along the way. Inspired by Malcolm X, Russell Shoatz became a lifelong crusader for justice, a soldier in the most militant units of the Black Liberation Army. Shoatz was convicted to life in prison following a coordinated attack on a park police station that left one guard dead.The prison walls, however, could not deter Shoatz's battle for personal and collective freedom. He escaped state prisons twice, making him a living legend, and endowed him with the moniker “Maroon,” once used to honor runaway slaves from plantations. He survived 22 years in solitary confinement, prompting an international campaign for his freedom.I Am Maroon charts a life of dizzying intrigue and a long struggle for liberation. With an unforgettable voice, Maroon reminds us that we too are capable of radical change, leaving us a blueprint for how we might dedicate our lives and minds to the ongoing fight for freedom.

'The Classic Collection of Marcus Garvey'is a remarkable compilation of the essential writings and speeches of Marcus Garvey, a visionary leader, and influential figure in the Pan-African and civil rights movements of the early 20th century. This anthology features some of Garvey's most significant works, including'The Philosophy and Opinions of Marcus Garvey,''Message to the People,'and a selection of his powerful writings and speeches. In this comprehensive collection, readers will embark on a journey through the life and ideas of Marcus Garvey, exploring his philosophies on black nationalism, self-reliance, and the importance of unity among people of African descent. Garvey's eloquent and impassioned speeches are presented alongside his written works, offering a holistic view of his commitment to empowering marginalized communities and advocating for social and political change. Contents: The Philosophy and Opinions of Marcus Garvey Or, Africa for the Africans Preface Chapter I Chapter II Chapter III Chapter IV Message To The People Lesson 1. Intelligence, Education, Universal Knowledge, And How To Get It Lesson 2. Leadership Lesson 3. Aims And Objects Of The U.N.I.A. Lesson 4. Elocution Lesson 5. God Lesson 6. Christ Lesson 7. Character Lesson 8. The Social System Lesson 9. Diplomacy Lesson 10. Economy Lesson 11. Man Lesson 12. The Purpose Of Institutions Lesson 13. The Universe Lesson 14. Self-Initiative Lesson 15. Personality Lesson 16. Propaganda Lesson 17. Communism Lesson 18. Commercial And Industrial Transactions Lesson 19. Winning Mankind By Kindness Lesson 20. Living For Something Lesson 21. History Of The U.N.I.A. Lesson 22. The Five-Year Plan Of The U.N.I.A. Selected Writings and Speeches The Negro's Greatest Enemy West Indies in the Mirror of Truth Unemployment Leadership The Handwriting Is on the Wall The Hidden Spirit of America Africa for the Africans Hon. Marcus Garvey Tells of Interview with the Ku Klux Klan Climbing Upward The World Gone Mad—Force Only Argument to Correct Human Ills Biggest Case in the History of the Negro Race

While the legacy of Black urban rebellions during the turbulent 1960s continues to permeate throughout US histories and discourses, scholars seldom explore within scholarship examining Black Cultural Production, artist-writers of the Black Arts Movement (BAM) that addressed civil unrest, specifically riots, in their artistic writings. Start a Riot! Civil Unrest in Black Arts Movement Drama, Fiction, and Poetry analyzes riot iconography and its usefulness as a political strategy of protestation. Through a mixed-methods approach of literary close-reading, historical, and sociological analysis, Casarae Lavada Abdul-Ghani considers how BAM artist-writers like Amiri Baraka (LeRoi Jones), Ben Caldwell, Gwendolyn Brooks, Sonia Sanchez, and Henry Dumas challenge misconceptions regarding Black protest through experimental explorations in their writings. Representations of riots became more pronounced in the 1960s as pivotal leaders shaping Black consciousness, such as Malcolm X and Martin Luther King Jr., were assassinated. BAM artist-writers sought to override the public's interpretation in their literary exposés that a riot's disjointed and disorderly methods led to more chaos than reparative justice. Start a Riot! uncovers how BAM artist-writers expose anti-Black racism and, by extension, the United States'inability to compromise with Black America on matters related to citizenship rights, housing (in)security, economic inequality, and education—tenets emphasized during the Black Power Movement. Abdul-Ghani argues that BAM artist-writers did not merely write literature that reflected a spirit of protest; in many cases, they understood their texts, themselves, as acts of protest.

Finalist, Pauli Murray Book Prize in Black Intellectual History, African American Intellectual History SocietyShortlisted, 2023 Historical Nonfiction Legacy Award, Hurston / Wright FoundationOne of the foremost Black writers and intellectuals of his era, Claude McKay (1889–1948) was a central figure in Caribbean literature, the Harlem Renaissance, and the Black radical tradition. McKay's life and writing were defined by his class consciousness and anticolonialism, shaped by his experiences growing up in colonial Jamaica as well as his early career as a writer in Harlem and then London. Dedicated to confronting both racism and capitalist exploitation, he was a critical observer of the Black condition throughout the African diaspora and became a committed Bolshevik.Winston James offers a revelatory account of McKay's political and intellectual trajectory from his upbringing in Jamaica through the early years of his literary career and radical activism. In 1912, McKay left Jamaica to study in the United States, never to return. James follows McKay's time at the Tuskegee Institute and Kansas State University, as he discovered the harshness of American racism, and his move to Harlem, where he encountered the ferment of Black cultural and political movements and figures such as Hubert Harrison and Marcus Garvey. McKay left New York for London, where his commitment to revolutionary socialism deepened, culminating in his transformation from Fabian socialist to Bolshevik.Drawing on a wide variety of sources, James offers a rich and detailed chronicle of McKay's life, political evolution, and the historical, political, and intellectual contexts that shaped him.

Considering the development and ongoing influence of Black thought From 1900 to the present, people of African descent living in the United States have drawn on homegrown and diasporic minds to create a Black intellectual tradition engaged with ideas on race, racial oppression, and the world. This volume presents essays on the diverse thought behind the fight for racial justice as developed by African American artists and intellectuals; performers and protest activists; institutions and organizations; and educators and religious leaders. By including both women's and men's perspectives from the U.S. and the Diaspora, the essays explore the full landscape of the Black intellectual tradition. Throughout, contributors engage with important ideas ranging from the consideration of gender within the tradition, to intellectual products generated outside the intelligentsia, to the ongoing relationship between thought and concrete effort in the quest for liberation. Expansive in scope and interdisciplinary in practice, The Black Intellectual Tradition delves into the ideas that animated a people's striving for full participation in American life. Contributors: Derrick P. Alridge, Keisha N. Blain, Cornelius L. Bynum, Jeffrey Lamar Coleman, Pero Gaglo Dagbovie, Stephanie Y. Evans, Aaron David Gresson III, Claudrena N. Harold, Leonard Harris, Maurice J. Hobson, La TaSha B. Levy, Layli Maparyan, Zebulon V. Miletsky, R. Baxter Miller, Edward Onaci, Venetria K. Patton, James B. Stewart, and Nikki M. Taylor

Amiri Baraka is unquestionably the most recognized leader of the Black Arts Movement of the 1960s and 1970s, and one of the key literary and cultural figures of the postwar United States. While Baraka's political and aesthetic stances changed considerably over the course of his career, Brick City Vanguard demonstrates the continuity in his thinking about the meaning of black music in the material, psychic, and ideological development of black people. Drawing on primary texts, paratexts (including album liner notes), audio and visual recordings, and archival sources, James Smethurst takes a new look at how Baraka's writing on and performance of music envisioned the creation of an African American people or nation, as well as the growth and consolidation of a black working class within that nation, that resonates to this day. This vision also provides a way of understanding the encounter of black people with what has been called'the urban crisis'and a projection of a liberated black future beyond that crisis.

Known as'the angriest black man in America', Malcolm X was one of the most famous activists to ever live. Going beyond biography, Black Minded examines Malcolm X's philosophical system, restoring his thinking to the pantheon of Black Radical Thought. Michael Sawyer argues that the foundational concepts of Malcolm X's political philosophy - economic and social justice, strident opposition to white supremacy and Black internationalism - are often obscured by an emphasis on biography. The text demonstrates the way in which Malcolm X's philosophy lies at the intersection of the thought of W.E.B. Du Bois and Frantz Fanon and is an integral part of the revolutionary politics formed to alleviate the plight of people of African descent globally. Exploring themes of ontology, the body, geographic space and revolution, Black Minded provides a much-needed appraisal of Malcolm X's political philosophy.

As both an activist and the dynamic editor of Negro Digest, Hoyt W. Fuller stood at the nexus of the Black Arts Movement and the broader black cultural politics of his time. Jonathan Fenderson uses historical snapshots of Fuller's life and achievements to rethink the period and establish Fuller's important role in laying the foundation for the movement. In telling Fuller's story, Fenderson provides provocative new insights into the movement's international dimensions, the ways the movement took shape at the local level, the impact of race and other factors, and the challenges--corporate, political, and personal--that Fuller and others faced in trying to build black institutions. An innovative study that approaches the movement from a historical perspective, Building the Black Arts Movement is a much-needed reassessment of the trajectory of African American culture over two explosive decades.

Exploring the profound impact of the Black Power movement on African Americans.Outstanding Academic Title, ChoiceIn the 1960s and 70s, the two most important black nationalist organizations, the Nation of Islam and the Black Panther Party, gave voice and agency to the most economically and politically isolated members of black communities outside the South. Though vilified as fringe and extremist, these movements proved to be formidable agents of influence during the civil rights era, ultimately giving birth to the Black Power movement.Drawing on deep archival research and interviews with key participants, Jeffrey O. G. Ogbar reconsiders the commingled stories of—and popular reactions to—the Nation of Islam, Black Panthers, and mainstream civil rights leaders. Ogbar finds that many African Americans embraced the seemingly contradictory political agenda of desegregation and nationalism. Indeed, black nationalism, he demonstrates, was far more favorably received among African Americans than historians have previously acknowledged. It engendered minority pride and influenced the political, cultural, and religious spheres of mainstream African American life for the decades to come.This updated edition of Ogbar's classic work contains a new preface that describes the book's genesis and links the Black Power movement to the Black Lives Matter movement. A thoroughly updated essay on sources contains a comprehensive review of Black Power–related scholarship. Ultimately, Black Power reveals a black freedom movement in which the ideals of desegregation through nonviolence and black nationalism marched side by side.

This biography of Marcus Garvey documents the forging of his remarkable vision of pan-Africanism and highlights his organizational skills in framing a response to the radical global popular upsurge following the First World War (1914–1918). Central to Garvey's response was the development of organizations under the umbrella of the Universal Negro Improvement Association and African Communities League, which garnered the transnational support of several million members and sympathizers and challenged white supremacist practices and ideas. Garvey established the ideological pillars of twentieth century pan-Africanism in promoting self-determination and self-reliance for Africa's independence. Although Garvey travelled widely and lived abroad in New York and London, he spent his early years in Jamaica. Rupert Lewis traces how Garvey's Jamaican formation shaped his life and thought and how he combated the British colonial authorities as well as fought deep-rooted self-doubt and self-rejection among Jamaican black people. Garvey's much neglected political and cultural work at the local level is discussed as part of his project to stimulate self-determination in Africa and its diaspora.

Jazz emerged during the political and social upheaval of world war, communist revolution, Red Scares, and the Black Migration. The tumult bred disagreements about the cultural significance of jazz that concerned both its African American roots and its international appeal. The questions about what was new or even radical about the music initiated debates that writers recapitulated for decades. Jazz Internationalism offers a bold reconsideration of jazz's influence in Afro-modernist literature. Ranging from the New Negro Renaissance through the social movements of the 1960s, John Lowney articulates nothing less than a new history of Afro-modernist jazz writing. Jazz added immeasurably to the vocabulary for discussing radical internationalism and black modernism in leftist African American literature. Lowney examines how Claude McKay, Ann Petry, Langston Hughes, and many other writers employed jazz as both a critical social discourse and mode of artistic expression to explore the possibilities—and challenges—of black internationalism. The result is an expansive understanding of jazz writing sure to spur new debates.

You will put away with these words then we will see who you really are. Assata is the only American Fanuco knows, and he's a Cuban teenager desperate to live the American Dream. When will he realise his mentor is in fact Assata Shakur, a former Black Panther, a convicted felon and has 2 million dollars on her head? The world premiere of Ssebandeke's gripping and tense play explores the black struggle across generations and genders. The story of an imagined friendship.

Radical Aesthetics and Modern Black Nationalism explores the long-overlooked links between black nationalist activism and the renaissance of artistic experimentation emerging from recent African American literature, visual art, and film. GerShun Avilez charts a new genealogy of contemporary African American artistic production that illuminates how questions of gender and sexuality guided artistic experimentation in the Black Arts Movement from the mid-1960s to the mid-1970s. As Avilez shows, the artistic production of the Black Arts era provides a set of critical methodologies and paradigms rooted in the disidentification with black nationalist discourses. Avilez's close readings study how this emerging subjectivity, termed aesthetic radicalism, critiqued nationalist rhetoric in the past. It also continues to offer novel means for expressing black intimacy and embodiment via experimental works of art and innovative artistic methods. A bold addition to an advancing field, Radical Aesthetics and Modern Black Nationalism rewrites recent black cultural production even as it uncovers unexpected ways of locating black radicalism.

This volume brings together a broad range of key writings from the Black Arts Movement of the 1960s and 1970s, among the most significant cultural movements in American history. The aesthetic counterpart of the Black Power movement, it burst onto the scene in the form of artists'circles, writers'workshops, drama groups, dance troupes, new publishing ventures, bookstores, and cultural centers and had a presence in practically every community and college campus with an appreciable African American population. Black Arts activists extended its reach even further through magazines such as Ebony and Jet, on television shows such as Soul! and Like It Is, and on radio programs. Many of the movement's leading artists, including Ed Bullins, Nikki Giovanni, Woodie King, Haki Madhubuti, Sonia Sanchez, Askia Touré, and Val Gray Ward remain artistically productive today. Its influence can also be seen in the work of later artists, from the writers Toni Morrison, John Edgar Wideman, and August Wilson to actors Avery Brooks, Danny Glover, and Samuel L. Jackson, to hip hop artists Mos Def, Talib Kweli, and Chuck D. SOS—Calling All Black People includes works of fiction, poetry, and drama in addition to critical writings on issues of politics, aesthetics, and gender. It covers topics ranging from the legacy of Malcolm X and the impact of John Coltrane's jazz to the tenets of the Black Panther Party and the music of Motown. The editors have provided a substantial introduction outlining the nature, history, and legacy of the Black Arts Movement as well as the principles by which the anthology was assembled.

One of the most important and controversial figures in the history of race relations in America and the world at large, Marcus Garvey was the first great black orator of the twentieth century. The Jamaican-born African-American rights advocated dismayed his enemies as much as he dazzled his admirers. Of him, Martin Luther King, Jr., said, “He was the first man, on a mass scale and level, to give millions of Negroes a sense of dignity and destiny, and make the Negro feel that he was somebody.”A printer and newspaper editor in his youth, Garvey furthered his education in England and eventually traveled to the United States, where he impressed thousands with his speeches and millions more through his newspaper articles. His message of black pride resonated in all his efforts. This anthology contains some of his most noted writings, among them “The Negro's Greatest Enemy,”'Declaration of the Rights of the Negro Peoples of the World,'and'Africa for the Africans,'as well as powerful speeches on unemployment, leadership, and emancipation.Essential reading for students of African-American history, this volume will also serve as a useful reference for anyone interested in the history of the civil rights movement.

Despite the apparent racial progress reflected in Obama's election, the African American community in the United States is in a deep crisis on many fronts - economic, intellectual, cultural, and spiritual. This book sets out to trace the ideological roots of this crisis.Challenging the conventional historical narrative of race in America, Peller contends that the structure of contemporary racial discourse was set in the confrontation between liberal integrationism and black nationalism during the 1960s and 1970s. Arguing that the ideology of integration that emerged was highly conservative, apologetic, and harmful to the African American community, this book is sure to provide a new lens for studying - and learning from - American race relations in the twentieth century.

Exploring the interface between the cultural politics of the Black Power and the Black Arts movements and the production of postwar African American popular culture, Amy Ongiri shows how the reliance of Black politics on an oppositional image of African Americans was the formative moment in the construction of'authentic blackness'as a cultural identity. While other books have adopted either a literary approach to the language, poetry, and arts of these movements or a historical analysis of them, Ongiri's captures the cultural and political interconnections of the postwar period by using an interdisciplinary methodology drawn from cinema studies and music theory. She traces the emergence of this Black aesthetic from its origin in the Black Power movement's emphasis on the creation of visual icons and the Black Arts movement's celebration of urban vernacular culture.

Pulitzer Prize–winner Steven Hahn's provocative new book challenges deep-rooted views in the writing of American and African-American history. Moving from slave emancipations of the eighteenth century through slave activity during the Civil War and on to the black power movements of the twentieth century, he asks us to rethink African-American history and politics in bolder, more dynamic terms.Historians have offered important new perspectives and evidence concerning the geographical expanse of slavery in the United States and the protracted process of abolishing it. They have also uncovered a wealth of new material on the political currents running through black communities from enslavement to the present day. Yet their scholarship has failed to dislodge familiar interpretive frameworks that may no longer make much sense of the past.Based on the Nathan I. Huggins Lectures at Harvard University, The Political Worlds of Slavery and Freedom asks why this may be so and offers sweeping reassessments. It defines new chronological and spatial boundaries for American and African-American politics during the first half of the nineteenth century. It suggests, with historical comparisons, that we may have missed a massive slave rebellion during the Civil War. And it takes a serious look at the development and appeal of Garveyism and the hidden history of black politics it may help to reveal. Throughout, it presents African Americans as central actors in the arenas of American politics, while emphasizing traditions of self-determination, self-governance, and self-defense among them.

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A look at the violent “Red Summer of 1919” and its intersection with the highly politicized New Negro movement and the Harlem Renaissance With the New Negro movement and the Harlem Renaissance, the 1920s was a landmark decade in African American political and cultural history, characterized by an upsurge in racial awareness and artistic creativity. In Spectres of 1919 Barbara Foley traces the origins of this revolutionary era to the turbulent year 1919, identifying the events and trends in American society that spurred the black community to action and examining the forms that action took as it evolved. Unlike prior studies of the Harlem Renaissance, which see 1919 as significant mostly because of the geographic migrations of blacks to the North, Spectres of 1919 looks at that year as the political crucible from which the radicalism of the 1920s emerged. Foley draws from a wealth of primary sources, taking a bold new approach to the origins of African American radicalism and adding nuance and complexity to the understanding of a fascinating and vibrant era.

New in paperback, this groundbreaking biography captures the full sweep and epic dimensions of Marcus Garvey's life, the dazzling triumphs and the dreary exile. As Grant shows, Garvey was a man of contradictions: a self-educated, poetry-writing aesthete and unabashed propagandist, an admirer of Lenin, and a dandy given to elaborate public displays. Above all, he was a shrewd promoter whose use of pageantry evoked a lost African civilization and fired the imagination of his followers. Negro With a Hat restores Garvey to his place as one of the founders of black nationalism and a key figure of the 20th century.'A searching, vivid, and (as the title suggests) complex account of Garvey's short but consequential life.'--Steve Hahn, The New Republic'The story of Marcus Garvey, the charismatic and tireless black leader who had a meteoric rise and fall in the late 1910s and early'20s, makes for enthralling reading, and Garvey has found an engaging and objective biographer in Colin Grant.... Grant's book is not all politics, ideology, money and lawsuits. It is also an engrossing social history.... Negro With a Hat is an achievement on a scale Garvey might have appreciated.'--New York Times Book Review'Dazzling, definitive biography of the controversial activist who led the 1920s'Back to Africa'movement.... Grant's learned passion for his subject shimmers on every page. A riveting and well-wrought volume that places Garvey solidly in the pantheon of important 20th-century black leaders.'--Kirkus Reviews (Starred Review)'This splendid book is certain to become the definitive biography. Garvey was a dreamer and a doer; Grant captures the fascination of both.'--Publishers Weekly (Starred Review)'Grant's strength lies in his ability to re-create political moods and offer compelling sketches of colorful individuals and their organizations.... An engaging and readable introduction to a complicated and contentious historical actor who, in his time, possessed a unique capacity to inspire devotion and hatred, adulation and fear.'--Chicago Tribune'A monumental, nuanced and broadly sympathetic portrait.'--Financial Times

Elijah Muhammad's Nation of Islam came to America's attention in the 1960s and 1970s as a radical separatist African American social and political group. But the movement was also a religious one. Edward E. Curtis IV offers the first comprehensive examination of the rituals, ethics, theologies, and religious narratives of the Nation of Islam, showing how the movement combined elements of Afro-Eurasian Islamic traditions with African American traditions to create a new form of Islamic faith.Considering everything from bean pies to religious cartoons, clothing styles to prayer rituals, Curtis explains how the practice of Islam in the movement included the disciplining and purifying of the black body, the reorientation of African American historical consciousness toward the Muslim world, an engagement with both mainstream Islamic texts and the prophecies of Elijah Muhammad, and the development of a holistic approach to political, religious, and social liberation. Curtis's analysis pushes beyond essentialist ideas about what it means to be Muslim and offers a view of the importance of local processes in identity formation and the appropriation of Islamic traditions.

Achieving Blackness offers an important examination of the complexities of race and ethnicity in the context of black nationalist movements in the United States. By examining the rise of the Nation of Islam, the Black Power Movement of the 1960s and 1970s, and the “Afrocentric era” of the 1980s through 1990s Austin shows how theories of race have shaped ideas about the meaning of “Blackness” within different time periods of the twentieth-century. Achieving Blackness provides both a fascinating history of Blackness and a theoretically challenging understanding of race and ethnicity. Austin traces how Blackness was defined by cultural ideas, social practices and shared identities as well as shaped in response to the social and historical conditions at different moments in American history. Analyzing black public opinion on black nationalism and its relationship with class, Austin challenges the commonly held assumption that black nationalism is a lower class phenomenon. In a refreshing and final move, he makes a compelling argument for rethinking contemporary theories of race away from the current fascination with physical difference, which he contends sweeps race back to its misconceived biological underpinnings. Achieving Blackness is a wonderful contribution to the sociology of race and African American Studies.

Emerging from a matrix of Old Left, black nationalist, and bohemian ideologies and institutions, African American artists and intellectuals in the 1960s coalesced to form the Black Arts Movement, the cultural wing of the Black Power Movement. In this comprehensive analysis, James Smethurst examines the formation of the Black Arts Movement and demonstrates how it deeply influenced the production and reception of literature and art in the United States through its negotiations of the ideological climate of the Cold War, decolonization, and the civil rights movement.Taking a regional approach, Smethurst examines local expressions of the nascent Black Arts Movement, a movement distinctive in its geographical reach and diversity, while always keeping the frame of the larger movement in view. The Black Arts Movement, he argues, fundamentally changed American attitudes about the relationship between popular culture and'high'art and dramatically transformed the landscape of public funding for the arts.

In spite of the ever-growing popularity of Kwanzaa, the story of the influential Black nationalist organization behind the holiday has never been told. Fighting for Us explores the fascinating history of the US Organization, a Black nationalist group based in California that played a leading role in Black Power politics and culture during the late 1960s and early'70s whose influence is still felt today. Advocates of Afrocentric renewal, US unleashed creative and intellectual passions that continue to fuel debate and controversy among scholars and students of the Black Power movement. Founded in 1965 by Maulana Karenga, US established an extensive network of alliances with a diverse body of activists, artists and organizations throughout the United States for the purpose of bringing about an African American cultural revolution. Fighting for US presents the first historical examination of US'philosophy, internal dynamics, political activism and influence on African American art, making an elaborate use of oral history interviews, organizational archives, Federal Bureau of Investigation files, newspaper accounts, and other primary sources of the period.

During and after the Harlem Renaissance, two intellectual forces nationalism and Marxism clashed and changed the future of African American writing.

In this biography, Ula Taylor explores the life and ideas of one of the most important, if largely unsung, Pan-African freedom fighters of the twentieth century: Amy Jacques Garvey (1895-1973). Born in Jamaica, Amy Jacques moved in 1917 to Harlem, where she became involved in the Universal Negro Improvement Association (UNIA), the largest Pan-African organization of its time. She served as the private secretary of UNIA leader Marcus Garvey; in 1922, they married. Soon after, she began to give speeches and to publish editorials urging black women to participate in the Pan-African movement and addressing issues that affected people of African descent across the globe. After her husband's death in 1940, Jacques Garvey emerged as a gifted organizer for the Pan-African cause. Although she faced considerable male chauvinism, she persisted in creating a distinctive feminist voice within the movement. In her final decades, Jacques Garvey constructed a thriving network of Pan-African contacts, including Nnamdi Azikiwe, Kwame Nkrumah, George Padmore, and W. E. B. Du Bois. Taylor examines the many roles Jacques Garvey played throughout her life, as feminist, black nationalist, journalist, daughter, mother, and wife. Tracing her political and intellectual evolution, the book illuminates the leadership and enduring influence of this remarkable activist.

An'Indispensable'Book of The Black World Today websiteA fresh new look at the Black Power movement and its leaders Much has been written about the Black Power movement in the United States. Most of this work, however, tends to focus on the personalities of the movement. In We Are Not What We Seem, Roderick D. Bush takes a fresh look at Black Power and other African American social movements with a specific emphasis on the role of the urban poor in the struggle for Black rights. Bush traces the trajectory of African American social movements from the time Booker T. Washington to the present, providing an integrated discussion of class. He addresses questions crucial to any understanding of Black politics: Is the Black Power movement simply another version of the traditional American ethnic politics, or does it have wider social import? What role has the federal government played in implicitly grooming social conservatives like Louis Farrakhan to assume leadership positions as opposed to leftist, grassroots, class-oriented leaders? Bush avoids the traditional liberal and social democratic approaches in favor of a more universalistic perspective that offers new insights into the history of Black movements in the U.S.