A magnificent, foundational reckoning with how Black Americans have used the written word to define and redefine themselves, in resistance to the lies of racism and often in heated disagreement with each other, over the course of the country's history. Distilled over many years from Henry Louis Gates, Jr.'s legendary Harvard introductory course in African American Studies, The Black Box: Writing the Race is the story of Black self-definition in America through the prism of the writers who have led the way. From Phillis Wheatley and Frederick Douglass, W.E.B. Du Bois and Booker T. Washington, to Zora Neale Hurston and Richard Wright, James Baldwin and Toni Morrison-these writers used words to create a livable world-a "home" -for Black people destined to live out their lives in a bitterly racist society. It is a book grounded in the beautiful irony that a community formed legally and conceptually by its oppressors to justify brutal sub-human bondage, transformed itself through the word into a community whose foundational definition was based on overcoming one of history's most pernicious lies. This collective act of resistance and transcendence is at the heart of its self-definition as a "community." Out of that contested ground has flowered a resilient, creative, powerful, diverse culture formed by people who have often disagreed markedly about what it means to be "Black," and about how best to shape a usable past out of the materials at hand to call into being a more just and equitable future. This is the epic story of how, through essays and speeches, novels, plays, and poems, a long line of creative thinkers has unveiled the contours of-and resisted confinement in-the "black box" inside which this "nation within a nation" has been assigned, willy nilly, from the nation's founding through to today. This is a book that records the compelling saga of the creation of a people.

‘One of the greatest writers of our time.’ Toni Morrison ‘You Don’t Know Us Negroes adds immeasurably to our understanding of Hurston … her words make it impossible for readers to consider her anything but one of the intellectual giants of the 20th century.’ The New York Times Book Review Introduction by New York Times bestselling author Henry Louis Gates Jr. and Genevieve West Spanning more than 35 years of work, the first comprehensive collection of essays, criticism, and articles by the legendary author of the Harlem Renaissance, Zora Neale Hurston, showcasing the evolution of her distinctive style as an author. You Don’t Know Us Negroes is the quintessential gathering of provocative essays from one of the world’s most celebrated writers, Zora Neale Hurston. Spanning more than three decades and penned during the backdrop of the birth of the Harlem Renaissance, Montgomery bus boycott, desegregation of the military, and school integration, Hurston’s writing articulates the beauty and authenticity of Black life as only she could. Collectively, these essays showcase the roles enslavement and Jim Crow have played in intensifying Black people’s inner lives and culture rather than destroying it. She argues that in the process of surviving, Black people re-interpreted every aspect of American culture—"modif[ying] the language, mode of food preparation, practice of medicine, and most certainly religion.� White supremacy prevents the world from seeing or completely recognizing Black people in their full humanity and Hurston made it her job to lift the veil and reveal the heart and soul of the race. These pages reflect Hurston as the controversial figure she was – someone who stated that feminism is a mirage and that the integration of schools did not necessarily improve the education of Black students. Also covered is the sensational trial of Ruby McCollum, a wealthy Black woman convicted in 1952 for killing her lover, a white doctor. Demonstrating the breadth of this revered and influential writer’s work, You Don’t Know Us Negroes and Other Essays is an invaluable chronicle of a writer’s development and a window into her world and mind.

Host of PBS's Finding Your Roots and famed Harvard professor Henry Louis Gates, Jr. discusses African-American immigration and ancestry in the context of the American political climate. Unlike most white Americans who can search their ancestral records, identifying who among their forebears was the first to step foot on this country’s shores, most African Americans encounter a series of daunting obstacles when trying to trace their family’s past. Slavery brutally negated identity, denying black men and women even their names. But from that legacy of slavery have sprung generations who’ve struggled, thrived, and lived extraordinary lives. For too long, African Americans’ family trees have been barren of branches, but advanced genetic testing techniques, combined with archival research, have begun to fill in the gaps. Here, scholar Henry Louis Gates, Jr., backed by an elite team of geneticists and researchers, takes nineteen extraordinary African Americans on a once unimaginable journey, tracing family sagas through U.S. history and back to Africa. Dr. Gates brings to life the recovered pasts of: Oprah Winfrey Whoopi Goldberg Chris Rock Tina Turner Maya Angelou Peter Gomes Mae Jemison Quincy Jones Morgan Freeman Sara Lawrence-Lightfoot Tom Joyner Benjamin Carson T.D. Jakes Linda Johnson Rice Kathleen Henderson Jackie Joyner-Kersee Don Cheadle Bliss Broyard Chris Tucker More than a work of history, In Search of Our Roots is an important book that, for the first time, brings to light the lives of ordinary men and women who, by courageous example, blazed a path for their famous descendants. In accompanying the nineteen contemporary achievers on their journey into the past and meeting their remarkable forebears, we come to know ourselves.

“Given the current political conditions, these lectures on race, ethnicity, and nation, delivered by Stuart Hall almost a quarter of a century ago, may be even more timely today.� —Angela Y. Davis In this defining statement one of the founding figures of cultural studies reflects on the divisive, often deadly consequences of our contemporary politics of race and identity. As he untangles the power relations that permeate categories of race, ethnicity, and nationhood, Stuart Hall shows how old hierarchies of human identity were forcefully broken apart when oppressed groups introduced new meanings to the representation of difference. Hall challenges us to find more sustainable ways of living with difference, redefining nation, race, and identity. “Stuart Hall bracingly confronts the persistence of race—and its confounding liberal surrogates, ethnicity and nation…This is a profoundly humane work that…finds room for hope and change.� —Orlando Patterson “Stuart Hall’s written words were ardent, discerning, recondite, and provocative, his spoken voice lyrical, euphonious, passionate, at times rhapsodic and he changed the way an entire generation of critics and commentators debated issues of race and cultural difference.� —Henry Louis Gates, Jr. “Essential reading for those seeking to understand Hall’s tremendous impact on scholars, artists, and filmmakers on both sides of the Atlantic.� —Artforum

In the 1960s, art patrons Dominique and Jean de Menil founded an image archive showing the ways that people of African descent have been represented in Western art from the ancient world to modern times. Highlights from the image archive, accompanied by essays written by major scholars, appeared in three large-format volumes, consisting of one or more books, that quickly became collector's items. A half-century later, Harvard University Press and the Du Bois Institute are proud to have republished five of the original books and to present five completely new ones, extending the series into the twentieth century. The Impact of Africa, the first of two books on the twentieth century, looks at changes in the Western perspective on African art and the representation of Africans, and the paradox of their interpretation as simultaneously "primitive" and "modern." The essays include topics such as the new medium of photography, African influences on Picasso and on Josephine Baker's impression of 1920s Paris, and the influential contribution of artists from the Caribbean and Latin American diasporas.

Edited by Henry Louis Gates, Jr.

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When Professor Henry Louis Gates, Jr., saw a modest auction catalogue listing for an "Unpublished Original Manuscript," he knew he could be on the verge of a major literary find. After exhaustive research, he found that the handwritten manuscript he had purchased was the only known novel by a female African American slave and possibly the first novel written by a black woman anywhere. THE BONDWOMAN'S NARRATIVE tells of a self-educated young house slave who knows all too well slavery's brutal limitations, but never suspects that the freedom of her beautiful new mistress is also at risk-or that a devastating secret will force them both to flee the South and make a desperate bid for freedom.

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"A fascinating, if disturbing, window onto the origins of racism." -Publishers Weekly "The eighteenth-century essays published for the first time in Who's Black and Why? contain a world of ideas-theories, inventions, and fantasies-about what blackness is, and what it means. To read them is to witness European intellectuals, in the age of the Atlantic slave trade, struggling, one after another, to justify atrocity." -Jill Lepore, author of These Truths: A History of the United States The first translation and publication of sixteen submissions to the notorious eighteenth-century Bordeaux essay contest on the cause of black skin-an indispensable chronicle of the rise of scientifically based, anti-Black racism. In 1739 Bordeaux's Royal Academy of Sciences announced a contest for the best essay on the sources of "blackness." What is the physical cause of blackness and African hair, and what is the cause of Black degeneration, the contest announcement asked. Sixteen essays, written in French and Latin, were ultimately dispatched from all over Europe. The authors ranged from naturalists to physicians, theologians to amateur savants. Documented on each page are European ideas about who is Black and why. Looming behind these essays is the fact that some four million Africans had been kidnapped and shipped across the Atlantic by the time the contest was announced. The essays themselves represent a broad range of opinions. Some affirm that Africans had fallen from God's grace; others that blackness had resulted from a brutal climate; still others emphasized the anatomical specificity of Africans. All the submissions nonetheless circulate around a common theme: the search for a scientific understanding of the new concept of race. More important, they provide an indispensable record of the Enlightenment-era thinking that normalized the sale and enslavement of Black human beings. These never previously published documents survived the centuries tucked away in Bordeaux's municipal library. Translated into English and accompanied by a detailed introduction and headnotes written by Henry Louis Gates, Jr., and Andrew Curran, each essay included in this volume lays bare the origins of anti-Black racism and colorism in the West.

Uncle Tom charts the dramatic cultural transformation of perhaps the most controversial literary character in American history. From his origins as the heroic, Christ-like protagonist of Harriet Beecher Stowe's anti-slavery novel, the best-selling book of the nineteenth century after the Bible, Uncle Tom has become a widely recognized epithet for a black person deemed so subservient to whites that he betrays his race. Readers have long noted that Stowe's character is not the traitorous sycophant that his name connotes today. Adena Spingarn traces his evolution in the American imagination, offering the first comprehensive account of a figure central to American conversations about race and racial representation from 1852 to the present. We learn of the radical political potential of the novel's many theatrical spinoffs even in the Jim Crow era, Uncle Tom's breezy disavowal by prominent voices of the Harlem Renaissance, and a developing critique of "Uncle Tom roles" in Hollywood. Within the stubborn American binary of black and white, citizens have used this rhetorical figure to debate the boundaries of racial difference and the legacy of slavery. Through Uncle Tom, black Americans have disputed various strategies for racial progress and defined the most desirable and harmful images of black personhood in literature and popular culture.

This abundantly illustrated book examines the figure of Balthazar, one of the biblical magi, and explains how and why he came to be depicted as a Black African king. According to the Gospel of Matthew, magi from the East, following a star, traveled to Jerusalem bearing precious gifts for the infant Jesus. The magi were revered as wise men and later as kings. Over time, one of the three came to be known as Balthazar and to be depicted as a Black man. Balthazar was familiar to medieval Europeans, appearing in paintings, manuscript illuminations, mosaics, carved ivories, and jewelry. But the origin story of this fascinating character uncovers intricate ties between Europe and Africa, including trade and diplomacy as well as colonization and enslavement. In this book, experts in the fields of Ethiopian, West African, Nubian, and Western European art explore the representation of Balthazar as a Black African king. They examine exceptional art that portrays the European fantasy of the Black magus while offering clues about the very real Africans who may have inspired these images. Along the way, the authors chronicle the Black presence in premodern Europe, where free and enslaved Black people moved through public spaces and courtly circles. The volume's lavish illustrations include selected works by contemporary artists who creatively challenge traditional depictions of Black history.

The imaginative literature of African and Afro-American authors writing in Western languages has long been seen as standing outside the Western literary canon. In fact, however, black literature not only has a complex formal relation to that canon, but tends to revise and reflect Western rhetorical strategies even more than it echoes black vernacular literary forms. This book, first published in 1984, is divided into two sections, thus clarifying the nature of black literary theory on the one hand, and the features of black literary practice on the other. Rather than merely applying contemporary Western theory to black literature, these critics instead challenge and redefine the theory in order to make fresh, stimulating comments not only on black criticism and literature but also on the general state of criticism today.

After Reconstruction, African Americans found themselves free, yet largely excluded from politics, higher education, and the professions. Drawing on his professional research into political leadership and intellectual development in African American society, as well as his personal roots in the social-gospel teachings of black churches and at Lincoln University (PA), the political scientist Martin Kilson explores how a modern African American intelligentsia developed in the face of institutionalized racism. In this survey of the origins, evolution, and future prospects of the African American elite, Kilson makes a passionate argument for the ongoing necessity of black leaders in the tradition of W. E. B. Du Bois, who summoned the "Talented Tenth" to champion black progress. Among the many dynamics that have shaped African American advancement, Kilson focuses on the damage--and eventual decline--of color elitism among the black professional class, the contrasting approaches of Du Bois and Booker T. Washington, and the consolidation of an ethos of self-conscious racial leadership. Black leaders who assumed this obligation helped usher in the civil rights movement. But mingled among the fruits of victory are the persistent challenges of poverty and inequality. As the black intellectual and professional class has grown larger and more influential than ever, counting the President of the United States in its ranks, new divides of class and ideology have opened in African American communities. Kilson asserts that a revival of commitment to communitarian leadership is essential for the continued pursuit of justice at home and around the world.

ONE HUNDRED ORIGINAL PROFILES OF THE MOST INFLUENTIAL AFRICAN AMERICANS OF THE TWENTIETH CENTURY

Without Louis Armstrong or Miles Davis, we would not have jazz. Without Toni Morrison or Ralph Ellison, we would miss some of our greatest novels. Without Dr. King or Thurgood Marshall, we would be deprived of political breakthroughs that affirm and strengthen our democracy. Here, two of the leading African-American scholars of our day, Henry Louis Gates, Jr., and Cornel West, show us why the twentieth century was the African-American century, as they offer their personal picks of the African-American figures who did the most to shape our world.

This colorful collection of personalities includes much-loved figures such as scientist George Washington Carver, contemporary favorites such as comedian Richard Pryor and novelist Alice Walker, and even less-well-known people such as aviator Bessie Coleman. Gates and West also recognize the achievements of controversial figures such as Nation of Islam leader Louis Farrakhan and rap artist Tupac Shakur. Lively, accessible, and illustrated throughout, The African-American Century is a celebration of black achievement and a tribute to the black struggle for freedom in America that will inspire readers for years to come.

This edition also includes: The illustrations printed in the original book; Contemporary sources (1853-62), among them newspaper accounts of Northup's kidnapping and ordeal and commentary by Frederick Douglass, Harriet Beecher Stowe, and Thomas W. MacMahon; A Genealogy of Secondary Sources (1880-2014) presents twenty-three voices spanning three centuries on the memoir's major themes. Contributors include George Washington Williams, Marion Wilson Starling, Kenneth Stampp, Robert B. Stepto, Trish Loughran and David Fiske, Clifford W. Brown, Jr., and Rachel Seligman, among others. The 2013 film adaptation-12 Years a Slave-is fully considered, with criticism and major reviews of the film as well as Henry Louis Gates's three interviews with its director, Steve McQueen. A Chronology and Selected Bibliography are also included.

In the 1960s, art patrons Dominique and Jean de Menil founded an image archive showing the ways that people of African descent have been represented in Western art from the ancient world to modern times. Highlights from the image archive, accompanied by essays written by major scholars, appeared in three large format volumes, consisting of one or more books, that quickly became collector s items. A half century later, Harvard University Press and the Du Bois Institute are proud to have republished five of the original books and five completely new ones, extending the series into the twentieth century.

"The Rise of Black Artists," the second of two books on the twentieth century and the final volume in The Image of the Black in Western Art," marks an essential shift in the series and focuses on representation of blacks by black artists in the West. This volume takes on important topics ranging from urban migration within the United States to globalization, to Negritude and cultural hybridity, to the modern black artist s relationship with European aesthetic traditions and experimentation with new technologies and media. Concentrating on the United States, Europe, and the Caribbean, essays in this volume shed light on topics such as photography, jazz, the importance of political activism to the shaping of black identities, as well as the post-black art world."

In 1964, while on assignment for Newsweek magazine, photojournalist Elliott Erwitt spent a week in Cuba as a guest of Fidel Castro. There, he captured now-iconic photographs of the beloved Cuban president along with the revolutionary leader Che Guevara. Over 50 years later, coinciding with restored diplomatic relations between Cuba and the United States, Erwitt returned to document both its urban and rural landscapes, and -most prominently- the people of this fascinating nation. Presented in a book for the very first time, Erwitt's captivating black-and-white photographs offer an intimate look into this intriguing Caribbean island. From candid glimpses of Fidel Castro to Havana's breathtaking architectural details and scenes of rural life, Cuba reflects an in-depth visual exploration that unveils the heart and soul of the country. Complete with anecdotal recollections penned by Erwitt himself (for example, the time when Che Guevara offered him a box of cigars) and a compelling foreword written by Henry Louis Gates, Jr., this stunning tome isn't a mere chronicling of Cuba's people and places - it's a historical record of a nation in flux as it opens up to the rest of the world. Text in English, German, and French.

The imaginative literature of African and Afro-American authors writing in Western languages has long been seen as standing outside the Western literary canon. In fact, however, black literature not only has a complex formal relation to that canon, but tends to revise and reflect Western rhetorical strategies even more than it echoes black vernacular literary forms. This book, first published in 1984, is divided into two sections, thus clarifying the nature of black literary theory on the one hand, and the features of black literary practice on the other. Rather than merely applying contemporary Western theory to black literature, these critics instead challenge and redefine the theory in order to make fresh, stimulating comments not only on black criticism and literature but also on the general state of criticism today.

The Revolt of African Slaves in Iraq in the III/IX Century is the only full-length study on the revolt o f the Zanj. Scholars of slavery, the African diaspora and th e Middle East have lauded Popovic''s work. '

Henry Louis Gates, Jr. presents a journey through America's past and our nation's attempts at renewal in this look at the Civil War's conclusion, Reconstruction, and the rise of Jim Crow segregation. This is a story about America during and after Reconstruction, one of history's most pivotal and misunderstood chapters. In a stirring account of emancipation, the struggle for citizenship and national reunion, and the advent of racial segregation, the renowned Harvard scholar delivers a book that is illuminating and timely. Real-life accounts drive the narrative, spanning the half century between the Civil War and Birth of a Nation. Here, you will come face-to-face with the people and events of Reconstruction's noble democratic experiment, its tragic undermining, and the drawing of a new color line in the long Jim Crow era that followed. In introducing young readers to them, and to the resiliency of the African American people at times of progress and betrayal, Professor Gates shares a history that remains vitally relevant today.

In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector's items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.

The much-awaited "Artists of the Renaissance and Baroque" has been written by an international team of distinguished scholars, and covers the sixteenth and seventeenth centuries. The rise of slavery and the presence of black people in Europe irrevocably affected the works of the best artists of the time. Essays on the black Magus and the image of the black in Italy, Spain, and Britain, with detailed studies of Rembrandt and Heliodorus's "Aethiopica," all presented with superb color plates, make this new volume a worthy addition to this classic series.