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Breathe
Imani Perry
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R371
Discovery Miles 3 710
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Ships in 12 - 17 working days
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Collects over 150 years of key moments in the visual history of the
Southern United States, with over two hundred photographs taken
from 1850 to present The South is perhaps the most mythologized
region in the United States and also one of the most depicted.
Since the dawn of photography in the nineteenth century,
photographers have articulated the distinct and evolving character
of the South’s people, landscape, and culture and reckoned with
its fraught history. Indeed, many of the urgent questions we face
today about what defines the American experience—from racism,
poverty, and the legacy of slavery to environmental disaster,
immigration, and the changes wrought by a modern, global
economy—appear as key themes in the photography of the South. The
visual history of the South is inextricably intertwined with the
history of photography and also the history of America, and is
therefore an apt lens through which to examine American identity. A
Long Arc: Photography and the American South accompanies a major
exhibition at the High Museum of Art in Atlanta, with more than one
hundred photographers represented, including Walker Evans, Robert
Frank, Gordon Parks, William Eggleston, Sally Mann, Carrie Mae
Weems, Dawoud Bey, Alec Soth, and An-My Lê. Insightful texts by
Imani Perry, Sarah Kennel, Makeda Best, and Rahim Fortune, among
others, illuminate this broad survey of photographs of the Southern
United States as an essential American story. Copublished by
Aperture and High Museum of Art, Atlanta
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Nothing Personal (Hardcover)
James Baldwin; Foreword by Imani Perry; Afterword by Eddie S. Glaude Jr
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R514
R408
Discovery Miles 4 080
Save R106 (21%)
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Ships in 10 - 15 working days
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Since 2012, Dakar-born Omar Victor Diop has been hailed by the art
world for his stunning, colour-saturated studio photography. His
conceptual projects are primarily staged as beautifully costumed
portraits and self-portraits, and focus on important historical
figures and events from Black history and the African diaspora. In
the three projects presented in this book, Diaspora (2014), Liberty
(2017) and Allegory (2021), he revisits Black African history in
poignant photographs that weave together the past and the present.
Text in English and French.
This landmark work, first published in 1974, revealed a crucial
hidden chapter in early American history. Half a century later,
Black Majority remains more relevant and enlightening than ever.
This brilliant book—deeply researched and newly
updated—chronicles South Carolina’s crucial formative years. It
explains how West African familiarity with rice culture determined
the colony’s economy and how a captive labor force, skilled but
enslaved, shaped its own distinctive language and culture. Wood
underscores the involvement of Blacks in the early frontier, the
rise of forced migration from Africa, and the challenges of
escaping bondage. And he shows how Black resistance culminated in
the Stono Rebellion of 1739—the largest slave revolt in colonial
North America. That dramatic uprising proved an early turning point
in southern and African American history. This revised and timely
50th-anniversary edition includes a new foreword by award-winning
historian Imani Perry, for whom Black Majority was a pivotal
inspiration.
The late Chicagoan George Nesbitt could perhaps best be described
as an ordinary man with an extraordinary gift for storytelling. In
his newly uncovered memoir-written fifty years ago, yet never
published-he chronicles in vivid and captivating detail the story
of how his upwardly-mobile Midwestern Black family lived through
the tumultuous twentieth century. Spanning three generations,
Nesbitt's tale starts in 1906 with the Great Migration and ends
with the Freedom Struggle in the 1960s. He describes his parents'
journey out of the South, his struggle against racist military
authorities in World War II, the promise and peril of Cold War
America, the educational and professional accomplishments he strove
for and achieved, the lost faith in integration, and, despite every
hardship, the unwavering commitment by three generations of Black
Americans to fight for a better world. Through all of it-with his
sharp insights, nuance, and often humor-we see a family striving to
lift themselves up in a country that is working to hold them down.
Nesbitt's memoir includes two insightful forewords: one by John
Gibbs St. Clair Drake (1911-90), a pioneer in the study of African
American life, the other a contemporary rumination by noted Black
studies scholar Imani Perry. A rare first-person, long-form
narrative about Black life in the twentieth century, Being Somebody
and Black Besides is a remarkable literary-historical time capsule
that will delight modern readers.
The twin acts of singing and fighting for freedom have been
inseparable in African American history. May We Forever Stand tells
an essential part of that story. With lyrics penned by James Weldon
Johnson and music composed by his brother Rosamond, "Lift Every
Voice and Sing" was embraced almost immediately as an anthem that
captured the story and the aspirations of black Americans. Since
the song's creation, it has been adopted by the NAACP and performed
by countless artists in times of both crisis and celebration,
cementing its place in African American life up through the present
day. In this rich, poignant, and readable work, Imani Perry tells
the story of the Black National Anthem as it traveled from South to
North, from civil rights to black power, and from countless family
reunions to Carnegie Hall and the Oval Office. Drawing on a wide
array of sources, Perry uses "Lift Every Voice and Sing" as a
window on the powerful ways African Americans have used music and
culture to organize, mourn, challenge, and celebrate for more than
a century.
Perry argues that racism in America has moved into a new
phase--post-intentional For a nation that often optimistically
claims to be post-racial, we are still mired in the practices of
racial inequality that plays out in law, policy, and in our local
communities. One of two explanations is often given for this
persistent phenomenon: On the one hand, we might be
hypocritical-saying one thing, and doing or believing another; on
the other, it might have little to do with us individually but
rather be inherent to the structure of American society. More
Beautiful and More Terrible compels us to think beyond this
insufficient dichotomy in order to see how racial inequality is
perpetuated. Imani Perry asserts that the U.S. is in a new and
distinct phase of racism that is "post-intentional": neither based
on the intentional discrimination of the past, nor drawing upon
biological concepts of race. Drawing upon the insights and tools of
critical race theory, social policy, law, sociology and cultural
studies, she demonstrates how post-intentional racism works and
maintains that it cannot be addressed solely through the kinds of
structural solutions of the Left or the values arguments of the
Right. Rather, the author identifies a place in the middle-a space
of "righteous hope"-and articulates a notion of ethics and human
agency that will allow us to expand and amplify that hope. To
paraphrase James Baldwin, when talking about race, it is both more
terrible than most think, but also more beautiful than most can
imagine, with limitless and open-ended possibility. Perry leads
readers down the path of imagining the possible and points to the
way forward.
Even as feminism has become increasingly central to our ideas about
institutions, relationships, and everyday life, the term used to
diagnose the problem-"patriarchy"-is used so loosely that it has
lost its meaning. In Vexy Thing Imani Perry resurrects patriarchy
as a target of critique, recentering it to contemporary discussions
of feminism through a social and literary analysis of cultural
artifacts from the Enlightenment to the present. Drawing on a rich
array of sources-from nineteenth-century slavery court cases and
historical vignettes to writings by Toni Morrison and Audre Lorde
and art by Kara Walker and Wangechi Mutu-Perry shows how the figure
of the patriarch emerged as part and parcel of modernity, the
nation-state, the Industrial Revolution, and globalization. She
also outlines how digital media and technology, neoliberalism, and
the security state continue to prop up patriarchy. By exploring the
past and present of patriarchy in the world we have inherited and
are building for the future, Perry exposes its mechanisms of
domination as a necessary precursor to dismantling it.
Since 2012, Public Books has championed a new kind of community for
intellectual engagement, discussion, and action. An online magazine
that unites the best of the university with the openness of the
internet, Public Books is where new ideas are debuted, old facts
revived, and dangerous illusions dismantled. Here, young scholars
present fresh thinking to audiences outside the academy,
accomplished authors weigh in on timely issues, and a wide range of
readers encounter the most vital academic insights and explore what
they mean for the world at large. Think in Public: A Public Books
Reader presents a selection of inspiring essays that exemplify the
magazine's distinctive approach to public scholarship. Gathered
here are Public Books contributions from today's leading thinkers,
including Jill Lepore, Imani Perry, Kim Phillips-Fein, Salamishah
Tillet, Jeremy Adelman, N. D. B. Connolly, Namwali Serpell, and
Ursula K. Le Guin. The result is a guide to the most exciting
contemporary ideas about literature, politics, economics, history,
race, capitalism, gender, technology, and climate change by writers
and researchers pushing public debate about these topics in new
directions. Think in Public is a lodestone for a rising generation
of public scholars and a testament to the power of knowledge.
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The Billboard (Paperback)
Natalie Y. Moore; Foreword by Imani Perry
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R410
R335
Discovery Miles 3 350
Save R75 (18%)
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Ships in 10 - 15 working days
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The Billboard is about a fictional Black women's clinic in
Chicago's Englewood neighborhood on the South Side and its fight
with a local gadfly running for City Council who puts up a
provocative billboard: "Abortion is genocide. The most dangerous
place for a Black child is his mother's womb," spurring on the
clinic to fight back with their own provocative sign: "Black women
take care of their families by taking care of themselves. Abortion
is self-care. #Trust Black Women." The book also has a foreword and
afterword and Q&A with a founder of reproductive justice. As a
play and book, The Billboard is a cultural force that treats
abortion as more than pro-life or pro-choice.
At once the most lucrative, popular, and culturally oppositional
musical force in the United States, hip hop demands the kind of
interpretation Imani Perry provides here: criticism engaged with
this vibrant musical form on its own terms. A scholar and a fan,
Perry considers the art, politics, and culture of hip hop through
an analysis of song lyrics, the words of the prophets of the hood.
Recognizing prevailing characterizations of hip hop as a
transnational musical form, Perry advances a powerful argument that
hip hop is first and foremost black American music. At the same
time, she contends that many studies have shortchanged the
aesthetic value of rap by attributing its form and content
primarily to socioeconomic factors. Her innovative analysis revels
in the artistry of hip hop, revealing it as an art of innovation,
not deprivation.Perry offers detailed readings of the lyrics of
many hip hop artists, including Ice Cube, Public Enemy, De La Soul,
krs-One, OutKast, Sean "Puffy" Combs, Tupac Shakur, Lil' Kim,
Biggie Smalls, Nas, Method Man, and Lauryn Hill. She focuses on the
cultural foundations of the music and on the form and narrative
features of the songs-the call and response, the reliance on the
break, the use of metaphor, and the recurring figures of the
trickster and the outlaw. Perry also provides complex
considerations of hip hop's association with crime, violence, and
misogyny. She shows that while its message may be disconcerting,
rap often expresses brilliant insights about existence in a society
mired in difficult racial and gender politics. Hip hop, she
suggests, airs a much wider, more troubling range of black
experience than was projected during the civil rights era. It
provides a unique public space where the sacred and the profane
impulses within African American culture unite.
Even as feminism has become increasingly central to our ideas about
institutions, relationships, and everyday life, the term used to
diagnose the problem-"patriarchy"-is used so loosely that it has
lost its meaning. In Vexy Thing Imani Perry resurrects patriarchy
as a target of critique, recentering it to contemporary discussions
of feminism through a social and literary analysis of cultural
artifacts from the Enlightenment to the present. Drawing on a rich
array of sources-from nineteenth-century slavery court cases and
historical vignettes to writings by Toni Morrison and Audre Lorde
and art by Kara Walker and Wangechi Mutu-Perry shows how the figure
of the patriarch emerged as part and parcel of modernity, the
nation-state, the Industrial Revolution, and globalization. She
also outlines how digital media and technology, neoliberalism, and
the security state continue to prop up patriarchy. By exploring the
past and present of patriarchy in the world we have inherited and
are building for the future, Perry exposes its mechanisms of
domination as a necessary precursor to dismantling it.
With a powerful juxtaposition of portraiture and landscape
photography, this book explores Dawoud Bey's vivid evocations of
race, history, time, and place Dawoud Bey (b. 1953) is an American
photographer best known for his large-scale portraits of
underrepresented subjects and for his commitment to fostering
dialogue about contemporary social and political topics. Bey has
also found inspiration in the past, and in two recent series,
presented together here for the first time, he addresses African
American history explicitly, with renderings both lyrical and
immediate. In 2012 Bey created The Birmingham Project, a series of
paired portraits memorializing the six children who were victims of
the Ku Klux Klan's bombing of Birmingham, Alabama's 16th Street
Baptist Church, a site of mass civil rights meetings, and the
violent aftermath. Night Coming Tenderly, Black is a group of
large-scale black-and-white landscapes made in 2017 in Ohio that
reimagine sites where the Underground Railroad once operated. The
book is introduced by an essay exploring the series' place within
Bey's wider body of work, as well as their relationships to the
past, the present, and each other. Additional essays investigate
the works' evocations of race, history, time, and place, addressing
the particularities of and resonances between two series of
photographs that powerfully reimagine the past into the present.
Published in association with the San Francisco Museum of Modern
Art Exhibition Schedule: San Francisco Museum of Modern Art
(February 15-October 12, 2020) High Museum of Art, Atlanta
(November 7, 2020-March 14, 2021) Whitney Museum of American Art,
New York (April 16-October 3, 2021)
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The Billboard (Hardcover)
Natalie Y. Moore; Foreword by Imani Perry
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R1,312
Discovery Miles 13 120
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Ships in 10 - 15 working days
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The Billboard is about a fictional Black women's clinic in
Chicago's Englewood neighborhood on the South Side and its fight
with a local gadfly running for City Council who puts up a
provocative billboard: "Abortion is genocide. The most dangerous
place for a Black child is his mother's womb," spurring on the
clinic to fight back with their own provocative sign: "Black women
take care of their families by taking care of themselves. Abortion
is self-care. #Trust Black Women." The book also has a foreword and
afterword and Q&A with a founder of reproductive justice. As a
play and book, The Billboard is a cultural force that treats
abortion as more than pro-life or pro-choice.
Since 2012, Public Books has championed a new kind of community for
intellectual engagement, discussion, and action. An online magazine
that unites the best of the university with the openness of the
internet, Public Books is where new ideas are debuted, old facts
revived, and dangerous illusions dismantled. Here, young scholars
present fresh thinking to audiences outside the academy,
accomplished authors weigh in on timely issues, and a wide range of
readers encounter the most vital academic insights and explore what
they mean for the world at large. Think in Public: A Public Books
Reader presents a selection of inspiring essays that exemplify the
magazine's distinctive approach to public scholarship. Gathered
here are Public Books contributions from today's leading thinkers,
including Jill Lepore, Imani Perry, Kim Phillips-Fein, Salamishah
Tillet, Jeremy Adelman, N. D. B. Connolly, Namwali Serpell, and
Ursula K. Le Guin. The result is a guide to the most exciting
contemporary ideas about literature, politics, economics, history,
race, capitalism, gender, technology, and climate change by writers
and researchers pushing public debate about these topics in new
directions. Think in Public is a lodestone for a rising generation
of public scholars and a testament to the power of knowledge.
Perry argues that racism in America has moved into a new
phase--post-intentional For a nation that often optimistically
claims to be post-racial, we are still mired in the practices of
racial inequality that plays out in law, policy, and in our local
communities. One of two explanations is often given for this
persistent phenomenon: On the one hand, we might be
hypocritical-saying one thing, and doing or believing another; on
the other, it might have little to do with us individually but
rather be inherent to the structure of American society. More
Beautiful and More Terrible compels us to think beyond this
insufficient dichotomy in order to see how racial inequality is
perpetuated. Imani Perry asserts that the U.S. is in a new and
distinct phase of racism that is "post-intentional": neither based
on the intentional discrimination of the past, nor drawing upon
biological concepts of race. Drawing upon the insights and tools of
critical race theory, social policy, law, sociology and cultural
studies, she demonstrates how post-intentional racism works and
maintains that it cannot be addressed solely through the kinds of
structural solutions of the Left or the values arguments of the
Right. Rather, the author identifies a place in the middle-a space
of "righteous hope"-and articulates a notion of ethics and human
agency that will allow us to expand and amplify that hope. To
paraphrase James Baldwin, when talking about race, it is both more
terrible than most think, but also more beautiful than most can
imagine, with limitless and open-ended possibility. Perry leads
readers down the path of imagining the possible and points to the
way forward.
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