Beginning in 1541 with Hernando De Soto's Spanish expedition for gold, African Americans have held a prominent place in Chattanooga's history. Author Rita Lorraine Hubbard chronicles the ways African Americans have shaped Chattanooga, and presents inspirational achievements that have gone largely unheralded over the years.

What do Walter Sisulu, Paul Xiniwe, Bertha Mkhize and John Tengo Jabavu have in common? They were all Black South African business people, and only a few of the names of the elite who were able to build successful enterprises against all odds in industries such as agriculture, media, financial services, retail, real estate, transport, hoteliering and more during the colonial and apartheid eras.

In many cases, they were also political activists as necessitated by the oppressive conditions of the time in order to fight for equal rights to enterprise and markets. Here their stories as entrepreneurs as well as political actors are profiled, showing the inexplicable relationship between the two.

The history of Black South African enterprise pre- and post-colonially in areas like mining is also explored, showing that this was nothing alien or unexpected and instead, that oppression curtailed the majority of enterprise that was possible and blocked out competition through dispossession.

Filipinos arrived in the Washington, D.C., area shortly after 1900 upon the annexation of the Philippines to the United States. These new settlers included students, soldiers, seamen, and laborers. Within four decades, they became permanent residents, military servicemen, government workers, and community leaders. Although numerous Filipinos now live in the area, little is known about the founders of the Filipino communities. Images of America: Filipinos in Washington, D.C. captures an ethnic history and documents historical events and political transitions that occurred here.

Join Hloni Bookholane on his journey of becoming a doctor: from student to intern at the world-famous Groote Schuur Hospital in Cape Town to the best school of public health in the world across the Atlantic, and back home amid the COVID-19 pandemic.

There are highs and lows – learnings and unlearnings – about the personal versus political as he discovers how government policy, socioeconomics and more influence disease and medicine.

This timely memoir-cum-guide includes the insights of black women at various stages of their career as they navigate the pitfalls of the corporate world.

A performance review of the working world introduced to the young women reveals issues such as racism, sexism, ethnic chauvinism, ageism, and sexual harassment that many encounter with naivety.

When technical expertise and hard work are not the issue, how do black women make the most of their efforts and support each other to success?

This collection of essays examines the relationship of women of color's armed resistance to their aesthetic struggles, tension and transformation in feminist practice, and the impact of the gender-based design of state-sponsored terror, human rights debates, and the economic development for women of color. Athey brings together new scholarship testing the possibility of transnational feminist action and theorizing historical and contemporary aspects of resistance for women of color. Included are essays by and about women of Africa, India, and the Americas, including women of African American, Chicana, Puerto Rican, and Yaqui origins. Essays examine regional and historical contexts to demonstrate the central role of women of color in armed resistance struggle and in sustaining cultures of resistance, despite the fact that the agency, speech, and writing of women of color have received the least attention in studies of resistance. Contributors challenge thinking across many disciplines: sociology, literary and cultural studies, history, political science, and education. Resistance struggles examined include women in armed struggle for national self-determination, political and economic struggle for human rights and against state-sponsored repression; and women sustaining political and cultural resistance against specific religious, feminist, or nationalist doctrines, and against the repression of multiple forms of political, sexual, intellectual, and artistic expression.

Remember when we hit it off so well that we decided "We’re Going to Need More Wine?" Well, this time you and I are going to turn to our friend the bartender and ask, "You Got Anything Stronger?" I promise to continue to make you laugh, but with this round, the stakes get higher as the conversation goes deeper.

So. Where were we? Right, you and I left off in October 2017, when my first book came out. The weeks before were filled with dreams of loss. Pets dying. My husband leaving me. Babies not being born. My therapist told me it was my soul preparing for my true self to emerge after letting go of my grief. I had finally spoken openly about my fertility journey. I was having second thoughts—in fact, so many thoughts they were organizing to go on strike. But I knew I had to be honest because I didn’t want other women going through IVF to feel as alone as I did. I had suffered in isolation, having so many miscarriages that I could not give an exact number. Strangers shared their own journeys and heartbreak with me. I had led with the truth, and it opened the door to compassion.

When I released "We’re Going to Need More Wine", the response was so great people asked when I would do a sequel. The New York Times even ran a headline reading “We’re Going to Need More Gabrielle Union.” Frankly, after being so open and honest in my writing, I wasn’t sure there was more of me I was ready to share. But life happens with all its plot twists, and new stories demand to be told. This time, I need to be more vulnerable—not so much for me, but anyone who feels alone in what they’re going through.

A lot has changed in four years—I became a mom and I’m raising two amazing girls. My husband retired. My career has expanded so that I have the opportunity to lift up other voices that need to be heard. But the world has also shown us that we have a lot we still have to fight for—as women, as black women, as mothers, as aging women, as human beings, as friends. In "You Got Anything Stronger?", I show you how this ever-changing life presents challenges, even as it gives me moments of pure joy. I take you on a girl’s night at Chateau Marmont, and I also talk to Isis, my character from Bring It On. For the first time, I truly open up about my surrogacy journey and the birth of Kaavia James Union Wade. And I take on racist institutions and practices in the entertainment industry, asking for equality and real accountability.

"You Got Anything Stronger?" is me at my most vulnerable. I have recently found true strength in that vulnerability, and I want to share that power with you here, through this book.

After the American Civil War, many African Americans found a new life in "River Town." Louisville became a historic marker for freed men and women of color who bought acres of land or leased shotgun cottages and lots from whites to begin their new emancipated life. Smoketown is the only neighborhood in the city of Louisville with such continuous presence. By 1866, Smoketown was settled by these freemen, and by 1871 the first public building, the Eastern Colored School, was erected. By the 1950 census, 10,653 people lived in Smoketown, and other historic black neighborhoods--such as Petersburg/Newburg, Parkland, California, Russell, Berrytown, Griffytown, and Black Hill in Old Louisville--were thriving. As these new neighborhoods sprang up, another historic event was taking place: in 1875, the first Kentucky Derby convened, and 13 of the 15 jockeys were black. Such astounding history embraces this city, and Images of America: Louisville's Historic Black Neighborhoods relives its magnificent and rich narrative.

This essential text for newcomers and experts alike combines a broad survey of African American women's writing with a vivid critique by Sandi Russell, inspired by her discovery of her own cultural inheritance.

This was the first book to focus on the full scope of African American women's writing and creativity. It has now been completely revised and is reissued with a new introduction. Filling as it does the growing demand for critical work on black women's writing, it is particularly suited to undergraduate courses in literature, women's studies and American studies.