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

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.

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.

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, 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.

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.

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.

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.

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.

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.