"Maidin Iron" is the true story of the first woman to work as a union ironworker in New Mexico in the 1970s and 1980s. Ana Padilla tells of her struggle and ultimate success in breaking into this male-dominated trade, confronting union bosses, supervisors, and coworkers. Many thought that a woman couldn't handle the tough and dangerous job of being an ironworker, welding and bolting steel frames of multistory buildings. One false step could lead to sudden death. This scrappy young woman used humor, courage, good manners, and a strong work ethic to make her case that she could do everything just as well as her male coworkers. Although small of stature, she proved herself over and over again, on one job site after another, hauling equipment and working many stories in the air on steel girders, expecting no special treatment while facing harsh weather and dangers. Padilla conveys her Hispanic roots in New Mexico and the sense of a place and time when people held onto views of women that now seem outdated and sexist. She does this without bitterness. The reader meets other men and women-Hispanic, Anglo, Native American, and African American, many from New Mexico, some from elsewhere-who rolled up their sleeves, faced the challenges at each work site, and got the job done. We get a vivid feel for their personalities and of what it was like to work with them. We learn about the ironworkers' trade and also of how Padilla reinvented herself after a first marriage that was less than happy, found the man of her dreams, married him, and built a life with him that has lasted to this day. This is an inspiring tale that conveys the value of time-tested virtues of hard work, courage, and persistence in the face of adversity.

During the 1920s and 1930s, anthropologists and folklorists became obsessed with uncovering connections between African Americans and their African roots. At the same time, popular print media and artistic productions tapped the new appeal of black folk life, highlighting African-styled voodoo networks, positioning beating drums and blood sacrifices as essential elements of black folk culture. Inspired by this curious mix of influences, researchers converged on one site in particular, Sapelo Island, Georgia, to seek support for their theories about ""African survivals."" The legacy of that body of research is the area's contemporary identification as a Gullah community and a set of broader notions about Gullah identity. This wide-ranging history upends a long tradition of scrutinizing the Low Country blacks of Sapelo Island by refocusing the observational lens on those who studied them. Cooper uses a wide variety of sources to unmask the connections between the rise of the social sciences, the voodoo craze during the interwar years, the black studies movement, and black land loss and land struggles in coastal black communities in the Low Country. What emerges is a fascinating examination of Gullah people's heritage, and how it was reimagined and transformed to serve vastly divergent ends over the decades.

In the late nineteenth century, progressive reformers recoiled at the prospect of the justice system punishing children as adults. Advocating that children's inherent innocence warranted fundamentally different treatment, reformers founded the nation's first juvenile court in Chicago in 1899. Yet amidst an influx of new African American arrivals to the city during the Great Migration, notions of inherent childhood innocence and juvenile justice were circumscribed by race. In documenting how blackness became a marker of criminality that overrode the potential protections the status of ""child"" could have bestowed, Tera Eva Agyepong shows the entanglements between race and the state's transition to a more punitive form of juvenile justice. This important study expands the narrative of racialized criminalization in America, revealing that these patterns became embedded in a justice system originally intended to protect children. In doing so, Agyepong also complicates our understanding of the nature of migration and what it meant to be black and living in Chicago in the early twentieth century.

The ordeals of two famous African Americans
This special Leonaur edition combines the account of Harriet Ann Jacobs with that of Frederick Douglass. They were contemporaries and African Americans of note who shared a common background of slavery and, after their liberation, knew each other and worked for a common cause. The first account, a justifiably well known and highly regarded work, is that of Harriet Jacobs since this volume belongs in the Leonaur Women & Conflict series. Harriet Jacobs was born into slavery in North Carolina in 1813. Sold on as a child she suffered years of sexual abuse from her owner until in 1835 she escaped-leaving two children she'd had by a lover behind her. After hiding in a swamp she returned to her grandmother's shack where she occupied the crawl-space under its eaves. There she lived for seven years before escaping to Pennsylvania in 1842 and then moving on to New York, where she worked as a nursemaid. Jacobs published her book under the pseudonym of Linda Brent. She became a famous abolitionist, reformer and speaker on human rights. Frederick Douglass was just five years Jacobs' junior. He was born a slave in Maryland and he too suffered physical cruelty at the hands of his owners. In 1838 he escaped, boarding a train wearing a sailors uniform. Douglass became a social reformer of international fame principally because of his skill as an orator which propelled him to the status of statesman and diplomat as driven by his convictions regarding the fundamental equality of all human beings, he continued his campaigns for the rights of women generally, suffrage and emancipation.
Leonaur editions are newly typeset and are not facsimiles; each title is available in softcover and hardback with dustjacket; our hardbacks are cloth bound and feature gold foil lettering on their spines and fabric head and tail bands.

To many, the situation for black Americans in the world today seems hopeless. In Dirty Laundry, author Lavelle presents his personal view of race relations in the world and how these relations have affected both the black and white culture.

Through a series of essays, Lavelle describes the current state of black culture, examines the elements that have caused the erosion of the black community, and describes what the future holds for black Americans. Dirty Laundry presents Lavelle's thoughts on array of topics relevant to the black community: Race issues in the world Segregation versus integration Black social and cultural issues The role of the police and the justice system in the black world Parents and crime Athletes and sports

While sharing his opinions and views, Lavelle suggests actions that can be taken that would improve the future for both black Americans and the United States as a whole.

The Subject of Film and Race is the first comprehensive intervention into how film critics and scholars have sought to understand cinema's relationship to racial ideology. In attempting to do more than merely identify harmful stereotypes, research on 'films and race' appropriates ideas from post-structuralist theory. But on those platforms, the field takes intellectual and political positions that place its anti-racist efforts at an impasse. While presenting theoretical ideas in an accessible way, Gerald Sim's historical materialist approach uniquely triangulates well-known work by Edward Said with the Neo-Marxian writing about film by Theodor Adorno and Fredric Jameson. The Subject of Film and Race takes on topics such as identity politics, multiculturalism, multiracial discourse, and cyborg theory, to force film and media studies into rethinking their approach, specifically towards humanism and critical subjectivity. The book illustrates theoretical discussions with a diverse set of familiar films by John Ford, Michael Mann, Todd Solondz, Quentin Tarantino, Keanu Reeves, and others, to show that we must always be aware of capitalist history when thinking about race, ethnicity, and films.

CRITICS OF MYSTERY MARVEL is Youssef Alaoui's debut full-length poetry collection, which explores human relationships between individuals, cultures, races, and genders. He deftly utilizes archaic tones to formulate an artistic approach to metaphor in verse, creating images that appear wholly in the mind and not on the page. This volume consists of ten sections that explores Alaoui's family and heritage, an endless source of inspiration for his varied, dark, spiritual and carnal writings. Blending surrealism, magical realism, and language alchemy, Alaoui explores the human mythos of love, poverty, politics, racism, and war. A few of the poems are written in French and Spanish, translated to English. Post-beat verse from the San Francisco Bay area and the Big-Sur, CRITICS OF MYSTERY MARVEL touches the depth of the soul with poetry that is metaphorically luminous.

This book is a systematic inquiry of conspiracy theories across Latin America. Conspiracy theories project not only an interpretive logic of reality that leads people to believe in sinister machinations, but also imply a theory of power that requires mobilizing and taking action. Through history, many have fallen for the allure of conspiratorial narratives, even the most unsubstantiated and bizarre. This book traces the main conspiracy theories developing in Latin America since late colonial times and into the present, and identifies the geopolitical, socioeconomic and cultural scenarios of their diffusion and mobilization. Students and scholars of Latin American history and politics, as well as comparatists, will find in this book penetrating analyses of major conspiratorial designs in this multi-state region of the Americas.

A history of Black urban placemaking and politics in Philadelphia from the Great Migration to the era of Black Power In this book, author J.T. Roane shows how working-class Black communities cultivated two interdependent modes of insurgent assembly-dark agoras-in twentieth century Philadelphia. He investigates the ways they transposed rural imaginaries about and practices of place as part of their spatial resistances and efforts to contour industrial neighborhoods. In acts that ranged from the mundane acts of refashioning intimate spaces to expressly confrontational and liberatory efforts to transform the city's social and ecological arrangement, these communities challenged the imposition of Progressive and post-Progressive visions for urban order seeking to enclose or displace them. Under the rubric of dark agoras Roane brings together two formulations of collectivity and belonging associated with working-class Black life. While on their surface diametrically opposed, the city's underground-its illicit markets, taverns, pool halls, unlicensed bars, as well as spaces housing illicit sex and informal sites like corners associated with the economically and socially disreputable--constituted a spatial and experiential continuum with the city's set apart-its house meetings, storefronts, temples, and masjid, as well as the extensive spiritually appropriated architectures of the interwar mass movements that included rural land experiments as well as urban housing, hotels, and recreational facilities. Together these sites incubated Black queer urbanism, or dissident visions for urban life challenging dominant urban reform efforts and their modes of producing race, gender, and ultimately the city itself. Roane shows how Black communities built a significant if underappreciated terrain of geographic struggle shaping Philadelphia between the Great Migration and Black Power. This fascinating book will help readers appreciate the importance of Black spatial imaginaries and worldmaking in shaping matters of urban place and politics.

Selves in Dialogue: A Transethnic Approach to American Life Writing constitutes an explicit answer to the urgent call for a comparative study of American autobiography. This collection of essays ostensibly intends to cut across cultural, "racial" and/or "ethnic" boundaries, introducing the concept of "transethnicity" and arguing for its increasing validity in the ever-changing field of American Studies. Accordingly, the comparative analysis in Selves in Dialogue is implemented not by juxtaposing essays that pay "separate but equal" attention to specific "monoethnic" or "monocultural" traditions-as has been the usual strategy in book-length publications of this sort-, but by critically engaging with two or more different traditions in every single essay. Mixing rather than segregating. The transethnic approach proposed in this collection does not imply erasing the very difference and diversity that makes American autobiographies all the more thrilling to read and study. Group-specific research of an "intra-ethnic" nature should and will continue to thrive. And yet, the field of American Studies is now ready to indulge more freely, and more knowledgeably, in transethnic explorations of life writing, in an attempt to delineate both the divergences and the similarities between the different autobiographies written in the US. Because of its unusual perspective, Selves in Dialogue can be of interest not only for specialists in life writing, but also for those working in the larger fields of American Literature, Ethnic Studies or American Studies.

In everyday language, masochism is usually understood as the desire to abdicate control in exchange for sensation--pleasure, pain, or a combination thereof. Yet at its core, masochism is a site where power, bodies, and society come together. Sensational Flesh uses masochism as a lens to examine how power structures race, gender, and embodiment in different contexts. Drawing on rich and varied sources--from 19th century sexology, psychoanalysis, and critical theory to literary texts and performance art--Amber Jamilla Musser employs masochism as a powerful diagnostic tool for probing relationships between power and subjectivity. Engaging with a range of debates about lesbian S&M, racialization, femininity, and disability, as well as key texts such as Sacher-Masoch's Venus in Furs, Pauline Reage's The Story of O, and Michel Foucault's History of Sexuality, Musser renders legible the complex ways that masochism has been taken up by queer, feminist, and critical race theories. Furthering queer theory's investment in affect and materiality, she proposes "sensation" as an analytical tool for illustrating what it feels like to be embedded in structures of domination such as patriarchy, colonialism, and racism and what it means to embody femininity, blackness, and pain. Sensational Flesh is ultimately about the ways in which difference is made material through race, gender, and sexuality and how that materiality is experienced.