Black Lives in the Diaspora: Past / Present / Future – serie

Winner, 2024 Anna Julia Cooper Outstanding Publication Award, Association for the Study of Black Women in PoliticsPoor Black women who benefit from social welfare are marginalized in a number of ways by interlocking systemic racism, sexism, and classism. The media renders them invisible or casts them as racialized and undeserving “welfare queens” who exploit social safety nets. Even when Black women voters are celebrated, the voices of the poorest too often go unheard. How do Afro-descendant women in former slave-holding societies survive amid multifaceted oppression?Gladys L. Mitchell-Walthour offers a comparative analysis of how Black women social welfare beneficiaries in Brazil and the United States defy systems of domination. She argues that poor Black women act as political subjects in the struggle to survive, to provide food for their children and themselves, and challenge daily discrimination even in dire circumstances. Mitchell-Walthour examines the effects of social welfare programs, showing that mutual aid networks and informal labor also play important roles in beneficiaries’ lives. She also details how Afro-descendant women perceive stereotypes and discrimination based on race, class, gender, and skin color. Mitchell-Walthour considers their formal political participation, demonstrating that low-income Black women support progressive politics and that religious affiliation does not lead to conservative attitudes.Drawing on Black feminist frameworks, The Politics of Survival confronts the persistent invisibility of poor Black women by foregrounding their experiences and voices. Providing a wealth of empirical evidence on these women’s views and survival strategies, this book not only highlights how systemic structures marginalize them but also offers insight into how they resist such forces.

Winner, 2024 Anna Julia Cooper Outstanding Publication Award, Association for the Study of Black Women in PoliticsPoor Black women who benefit from social welfare are marginalized in a number of ways by interlocking systemic racism, sexism, and classism. The media renders them invisible or casts them as racialized and undeserving “welfare queens” who exploit social safety nets. Even when Black women voters are celebrated, the voices of the poorest too often go unheard. How do Afro-descendant women in former slave-holding societies survive amid multifaceted oppression?Gladys L. Mitchell-Walthour offers a comparative analysis of how Black women social welfare beneficiaries in Brazil and the United States defy systems of domination. She argues that poor Black women act as political subjects in the struggle to survive, to provide food for their children and themselves, and challenge daily discrimination even in dire circumstances. Mitchell-Walthour examines the effects of social welfare programs, showing that mutual aid networks and informal labor also play important roles in beneficiaries’ lives. She also details how Afro-descendant women perceive stereotypes and discrimination based on race, class, gender, and skin color. Mitchell-Walthour considers their formal political participation, demonstrating that low-income Black women support progressive politics and that religious affiliation does not lead to conservative attitudes.Drawing on Black feminist frameworks, The Politics of Survival confronts the persistent invisibility of poor Black women by foregrounding their experiences and voices. Providing a wealth of empirical evidence on these women’s views and survival strategies, this book not only highlights how systemic structures marginalize them but also offers insight into how they resist such forces.

Honorable Mention, 2024 Gordon K. and Sybil Lewis Award, Caribbean Studies AssociationShortlisted, 2024 MSA Prize for a First Book, Modernist Studies AssociationIn the first half of the twentieth century, Black hemispheric culture grappled with the legacies of colonialism, U.S. empire, and Jim Crow. As writers and performers sought to convey the terror and the beauty of Black life under oppressive conditions, they increasingly turned to the labor, movement, speech, sound, and ritual of everyday “folk.” Many critics have perceived these representations of folk culture as efforts to reclaim an authentic past. Imani D. Owens recasts Black creators’ relationship to folk culture, emphasizing their formal and stylistic innovations and experiments in self-invention that reach beyond the local to the world.Turn the World Upside Down explores how Black writers and performers reimagined folk forms through the lens of the unruly—that which cannot be easily governed, disciplined, or managed. Drawing on a transnational and multilingual archive—from Harlem to Havana, from the Panama Canal Zone to Port-au-Prince—Owens considers the short stories of Eric Walrond and Jean Toomer; the ethnographies of Zora Neale Hurston and Jean Price-Mars; the recited poetry of Langston Hughes, Nicolás Guillén, and Eusebia Cosme; and the essays, dance work, and radio plays of Sylvia Wynter. Owens shows how these figures depict folk culture—and Blackness itself—as a site of disruption, ambiguity, and flux. Their works reveal how Black people contribute to the stirrings of modernity while being excluded from its promises. Ultimately, these works do not seek to render folk culture more knowable or worthy of assimilation, but instead provide new forms of radical world-making.

Honorable Mention, 2024 Gordon K. and Sybil Lewis Award, Caribbean Studies AssociationShortlisted, 2024 MSA Prize for a First Book, Modernist Studies AssociationIn the first half of the twentieth century, Black hemispheric culture grappled with the legacies of colonialism, U.S. empire, and Jim Crow. As writers and performers sought to convey the terror and the beauty of Black life under oppressive conditions, they increasingly turned to the labor, movement, speech, sound, and ritual of everyday “folk.” Many critics have perceived these representations of folk culture as efforts to reclaim an authentic past. Imani D. Owens recasts Black creators’ relationship to folk culture, emphasizing their formal and stylistic innovations and experiments in self-invention that reach beyond the local to the world.Turn the World Upside Down explores how Black writers and performers reimagined folk forms through the lens of the unruly—that which cannot be easily governed, disciplined, or managed. Drawing on a transnational and multilingual archive—from Harlem to Havana, from the Panama Canal Zone to Port-au-Prince—Owens considers the short stories of Eric Walrond and Jean Toomer; the ethnographies of Zora Neale Hurston and Jean Price-Mars; the recited poetry of Langston Hughes, Nicolás Guillén, and Eusebia Cosme; and the essays, dance work, and radio plays of Sylvia Wynter. Owens shows how these figures depict folk culture—and Blackness itself—as a site of disruption, ambiguity, and flux. Their works reveal how Black people contribute to the stirrings of modernity while being excluded from its promises. Ultimately, these works do not seek to render folk culture more knowable or worthy of assimilation, but instead provide new forms of radical world-making.

Historically Black colleges and universities (HBCUs) are a crucial element of higher education in the United States. As of 2021, there were more than 100 HBCUs, with a total enrollment of approximately 300,000 students. Many of the most famed figures in African American history attended HBCUs, and the alumni of these institutions have a strong track record of upward mobility and professional attainment. However, the value and contributions of HBCUs are too often overlooked and underappreciated.In Vital and Valuable, two distinguished economists provide a groundbreaking analysis of HBCUs. James V. Koch and Omari H. Swinton give a balanced assessment of the performance of HBCUs, examining metrics such as admissions and enrollment trends, graduation and retention rates, administrative expenses, spending on intercollegiate athletics, and student debt. They emphasize the distinctive features that make HBCUs what they are, considering whom they serve and how, while contextualizing these institutions within the landscape of American higher education.Based on this analysis, Koch and Swinton offer actionable policy recommendations that can help HBCUs build on their successes and address their weaknesses. They stress that empirical data on educational outcomes is essential to effective leadership of individual institutions as well as policy decisions that affect HBCUs. Vital and Valuable is essential reading for policy makers and experts in the field of higher education as well as a broader public interested in understanding the contributions of HBCUs.

Historically Black colleges and universities (HBCUs) are a crucial element of higher education in the United States. As of 2021, there were more than 100 HBCUs, with a total enrollment of approximately 300,000 students. Many of the most famed figures in African American history attended HBCUs, and the alumni of these institutions have a strong track record of upward mobility and professional attainment. However, the value and contributions of HBCUs are too often overlooked and underappreciated.In Vital and Valuable, two distinguished economists provide a groundbreaking analysis of HBCUs. James V. Koch and Omari H. Swinton give a balanced assessment of the performance of HBCUs, examining metrics such as admissions and enrollment trends, graduation and retention rates, administrative expenses, spending on intercollegiate athletics, and student debt. They emphasize the distinctive features that make HBCUs what they are, considering whom they serve and how, while contextualizing these institutions within the landscape of American higher education.Based on this analysis, Koch and Swinton offer actionable policy recommendations that can help HBCUs build on their successes and address their weaknesses. They stress that empirical data on educational outcomes is essential to effective leadership of individual institutions as well as policy decisions that affect HBCUs. Vital and Valuable is essential reading for policy makers and experts in the field of higher education as well as a broader public interested in understanding the contributions of HBCUs.

A number of Black writers have drawn inspiration from the biblical tale of the expulsion from paradise. In this deeply interdisciplinary and poetically written book, Jamall A. Calloway explores the presence of Eden and the aftermath of the Fall in works by James Baldwin, Toni Morrison, Richard Wright, and Alice Walker. In reflecting on Eden, he contends, these writers rethought what paradise could mean in the face of the catastrophes of the Black experience.By placing key novels in conversation with major religious thinkers, Calloway shows how Black writers adopted Edenic motifs to rebut orthodox interpretations of Genesis, with striking theological implications. He argues that Baldwin’s Giovanni’s Room counters St. Paul’s proclamations on the mortification of the flesh, reads Morrison’s Paradise against St. Augustine’s City of God as a challenge to the exclusions of the Garden of Eden, investigates Wright’s use of Søren Kierkegaard’s interpretation of Adam in The Outsider, and demonstrates how Walker’s The Color Purple and Catholic theologian Ivone Gebara offer a radical reconceptualization of the serpent in Genesis. The book concludes with a reflection on Lucille Clifton’s poetry. Revealing the richness of Black writers’ engagement with theology, Imagining Eden is a profoundly original consideration of literature and liberation, God and humanity.

A number of Black writers have drawn inspiration from the biblical tale of the expulsion from paradise. In this deeply interdisciplinary and poetically written book, Jamall A. Calloway explores the presence of Eden and the aftermath of the Fall in works by James Baldwin, Toni Morrison, Richard Wright, and Alice Walker. In reflecting on Eden, he contends, these writers rethought what paradise could mean in the face of the catastrophes of the Black experience.By placing key novels in conversation with major religious thinkers, Calloway shows how Black writers adopted Edenic motifs to rebut orthodox interpretations of Genesis, with striking theological implications. He argues that Baldwin’s Giovanni’s Room counters St. Paul’s proclamations on the mortification of the flesh, reads Morrison’s Paradise against St. Augustine’s City of God as a challenge to the exclusions of the Garden of Eden, investigates Wright’s use of Søren Kierkegaard’s interpretation of Adam in The Outsider, and demonstrates how Walker’s The Color Purple and Catholic theologian Ivone Gebara offer a radical reconceptualization of the serpent in Genesis. The book concludes with a reflection on Lucille Clifton’s poetry. Revealing the richness of Black writers’ engagement with theology, Imagining Eden is a profoundly original consideration of literature and liberation, God and humanity.

Rastafari is an Afrocentric social and religious movement that emerged among Afro-Jamaican communities in the 1930s and has many adherents in the Caribbean and worldwide today. This book is a groundbreaking account of Rastafari, demonstrating that it provides a normative conception of Blackness for people of African descent that resists Eurocentric and colonial ideas.Vivaldi Jean-Marie examines Rastafari’s core beliefs and practices, arguing that they constitute a distinctively Black system of norms and values—at once an ethos and a cosmology. He traces Rastafari’s origins in enslaved people’s strategies of resistance, Jamaican Revivalism, and Garveyism, showing how it incorporates ancestral religious traditions and emancipatory politics. An Ethos of Blackness draws out the significance of practices such as avoiding technological exploitation of natural artifacts and the belief in living in harmony with the natural order. Jean-Marie considers Rastafari’s theology, exploring its reinterpretation of biblical scriptures and its foundations in the rejection of Christianity’s Eurocentrism and racism. However, he insists, before Rastafari can fulfill its promise of liberation for people of African descent, it must confront its failure to include women and redress sexism.Through rigorous and sensitive reflections on Rastafari culture and cosmology, this book offers deeply original insights into the Black theological imagination.

Rastafari is an Afrocentric social and religious movement that emerged among Afro-Jamaican communities in the 1930s and has many adherents in the Caribbean and worldwide today. This book is a groundbreaking account of Rastafari, demonstrating that it provides a normative conception of Blackness for people of African descent that resists Eurocentric and colonial ideas.Vivaldi Jean-Marie examines Rastafari’s core beliefs and practices, arguing that they constitute a distinctively Black system of norms and values—at once an ethos and a cosmology. He traces Rastafari’s origins in enslaved people’s strategies of resistance, Jamaican Revivalism, and Garveyism, showing how it incorporates ancestral religious traditions and emancipatory politics. An Ethos of Blackness draws out the significance of practices such as avoiding technological exploitation of natural artifacts and the belief in living in harmony with the natural order. Jean-Marie considers Rastafari’s theology, exploring its reinterpretation of biblical scriptures and its foundations in the rejection of Christianity’s Eurocentrism and racism. However, he insists, before Rastafari can fulfill its promise of liberation for people of African descent, it must confront its failure to include women and redress sexism.Through rigorous and sensitive reflections on Rastafari culture and cosmology, this book offers deeply original insights into the Black theological imagination.

Textual Life is a groundbreaking book that recasts the role of knowledge in the making of a colonial and postcolonial nation. It makes a case for a new literary and intellectual-historical approach to Islam in Africa.The Senegalese Muslim scholar Shaykh Musa Kamara (1864–1945) wrote History of the Blacks, a monumental history of West Africa, in a time when colonial discourses asserted that Africans lacked both writing and history. He sought to publish a bilingual Arabic and French edition of the book by working with humanists in colonial institutions, but the project was ultimately undermined by the disregard of the French state.Textual Life considers Kamara’s story as a parable about the fate of the humanities amid epistemic and technological change. Wendell H. Marsh argues that Kamara’s scholarship reflected what he calls the textual attitude, an orientation to the world mediated by reading. Colonial humanists shared this attitude even while upholding racial and religious hierarchies, and they took an interest in African texts and traditions. The bureaucrats and technocrats who succeeded them, however, disdained such dialogue—for reasons that bear a striking resemblance to the algorithmic antihumanism that is ascendant today.Drawing on Kamara’s body of work, colonial archival documents, and postcolonial knowledge production within Senegal, Textual Life offers a decolonial vision of the humanities. By engaging with African and Muslim intellectual resources, Marsh shows how thinkers like Kamara who were subjected to colonialism can help us find a future after empire.

Textual Life is a groundbreaking book that recasts the role of knowledge in the making of a colonial and postcolonial nation. It makes a case for a new literary and intellectual-historical approach to Islam in Africa.The Senegalese Muslim scholar Shaykh Musa Kamara (1864–1945) wrote History of the Blacks, a monumental history of West Africa, in a time when colonial discourses asserted that Africans lacked both writing and history. He sought to publish a bilingual Arabic and French edition of the book by working with humanists in colonial institutions, but the project was ultimately undermined by the disregard of the French state.Textual Life considers Kamara’s story as a parable about the fate of the humanities amid epistemic and technological change. Wendell H. Marsh argues that Kamara’s scholarship reflected what he calls the textual attitude, an orientation to the world mediated by reading. Colonial humanists shared this attitude even while upholding racial and religious hierarchies, and they took an interest in African texts and traditions. The bureaucrats and technocrats who succeeded them, however, disdained such dialogue—for reasons that bear a striking resemblance to the algorithmic antihumanism that is ascendant today.Drawing on Kamara’s body of work, colonial archival documents, and postcolonial knowledge production within Senegal, Textual Life offers a decolonial vision of the humanities. By engaging with African and Muslim intellectual resources, Marsh shows how thinkers like Kamara who were subjected to colonialism can help us find a future after empire.

After West African migrants arrived in France in the 1960s, the authorities opened residences for them known as “foyers.” Initially intended to contain the West African population, these hostels for single men fostered the emergence of Black communities in the heart of Paris and other cities. More recently, however, a nationwide renovation program sought to replace the collective living arrangements of foyers with more individualized spaces by constructing new buildings or drastically reshaping existing ones—and casting the West African presence as a threat to French identity.Aïssatou Mbodj-Pouye examines the changing roles that foyers have played in the lives of generations of West African migrants, weaving together rich ethnographic description with a critical historical account. She shows how migrants settled in foyers through kinship ties, making these buildings key parts of diasporic networks. Migrants also forged a sense of place in foyers, in an intricate relationship with bureaucratic requirements such as having an address. Mbodj-Pouye scrutinizes the physical and social evolution of foyers and the administrative dynamics that governed them. She argues that even though these buildings originated in state attempts to manage migrants along racial lines, the shared way of life that they encouraged helped spark a sense of political agency and belonging whose significance extends far beyond their walls.Combining close attention to the social and cultural meanings of the foyers and keenly observed portraits of Black experiences in France across decades, An Address in Paris offers a new lens on the global African diaspora.

After West African migrants arrived in France in the 1960s, the authorities opened residences for them known as “foyers.” Initially intended to contain the West African population, these hostels for single men fostered the emergence of Black communities in the heart of Paris and other cities. More recently, however, a nationwide renovation program sought to replace the collective living arrangements of foyers with more individualized spaces by constructing new buildings or drastically reshaping existing ones—and casting the West African presence as a threat to French identity.Aïssatou Mbodj-Pouye examines the changing roles that foyers have played in the lives of generations of West African migrants, weaving together rich ethnographic description with a critical historical account. She shows how migrants settled in foyers through kinship ties, making these buildings key parts of diasporic networks. Migrants also forged a sense of place in foyers, in an intricate relationship with bureaucratic requirements such as having an address. Mbodj-Pouye scrutinizes the physical and social evolution of foyers and the administrative dynamics that governed them. She argues that even though these buildings originated in state attempts to manage migrants along racial lines, the shared way of life that they encouraged helped spark a sense of political agency and belonging whose significance extends far beyond their walls.Combining close attention to the social and cultural meanings of the foyers and keenly observed portraits of Black experiences in France across decades, An Address in Paris offers a new lens on the global African diaspora.

In a little-known chapter of World War II, Black people living in Nazi Germany and occupied Europe were subjected to ostracization, forced sterilization, and incarceration in internment and concentration camps. In the absence of public commemoration, African diaspora writers and artists have preserved the stories of these forgotten victims of the Third Reich. Their works illuminate the relationship between creative expression and wartime survival and the role of art in the formation of collective memory.This groundbreaking book explores a range of largely overlooked literary and artistic works that challenge the invisibility of Black wartime history. Emphasizing Black agency, Sarah Phillips Casteel examines both testimonial art by victims of the Nazi regime and creative works that imaginatively reconstruct the wartime period. Among these are the internment art of Caribbean painter Josef Nassy, the survivor memoir of Black German journalist Hans J. Massaquoi, the jazz fiction of African American novelist John A. Williams and Black Canadian novelist Esi Edugyan, and the photomontages of Scottish Ghanaian visual artist Maud Sulter. Bridging Black and Jewish studies, this book identifies the significance of African diaspora experiences and artistic expression for Holocaust history, memory, and representation.

In a little-known chapter of World War II, Black people living in Nazi Germany and occupied Europe were subjected to ostracization, forced sterilization, and incarceration in internment and concentration camps. In the absence of public commemoration, African diaspora writers and artists have preserved the stories of these forgotten victims of the Third Reich. Their works illuminate the relationship between creative expression and wartime survival and the role of art in the formation of collective memory.This groundbreaking book explores a range of largely overlooked literary and artistic works that challenge the invisibility of Black wartime history. Emphasizing Black agency, Sarah Phillips Casteel examines both testimonial art by victims of the Nazi regime and creative works that imaginatively reconstruct the wartime period. Among these are the internment art of Caribbean painter Josef Nassy, the survivor memoir of Black German journalist Hans J. Massaquoi, the jazz fiction of African American novelist John A. Williams and Black Canadian novelist Esi Edugyan, and the photomontages of Scottish Ghanaian visual artist Maud Sulter. Bridging Black and Jewish studies, this book identifies the significance of African diaspora experiences and artistic expression for Holocaust history, memory, and representation.

Over the centuries, from the transatlantic slave trade to voluntary mass migrations through the digital era, African cultural practices have taken root and transformed in the Americas. Even though Afro-Brazilians make up a large share of the global Black diaspora, and Brazilian culture in turn has been deeply shaped by African influences, their particular contributions remain overlooked.Imagining the Past, Remembering the Future investigates the interlinked art, history, religion, philosophy, and cosmology of oral traditions across the Afro-Brazilian diaspora, arguing that these varied cultural expressions together constitute distinctive forms of knowledge. Through case studies of sacred and secular performances, Isis Barra Costa shows how Afro-Brazilian concepts and practices preserve and renew an ever-changing diasporic philosophy. Ranging across parades of Black royal courts, Carnaval performing groups, oracular literature, “spirit-dictated” novels, and many other forms, she illuminates the survival and transformation of African cosmologies, epistemologies, and poetics in the Americas. Foregrounding oral narratives, Barra Costa sheds light on the nonhegemonic protagonists and canons of the Black Atlantic: the spaces and beings, kingdoms and heroes, philosophers and historians that orient Afro-Brazilian memory and imagination. By tracing forms of knowledge across the global African diaspora, this deeply interdisciplinary book reveals the transformative potential of Afro-Brazilian philosophical paradigms.

Over the centuries, from the transatlantic slave trade to voluntary mass migrations through the digital era, African cultural practices have taken root and transformed in the Americas. Even though Afro-Brazilians make up a large share of the global Black diaspora, and Brazilian culture in turn has been deeply shaped by African influences, their particular contributions remain overlooked.Imagining the Past, Remembering the Future investigates the interlinked art, history, religion, philosophy, and cosmology of oral traditions across the Afro-Brazilian diaspora, arguing that these varied cultural expressions together constitute distinctive forms of knowledge. Through case studies of sacred and secular performances, Isis Barra Costa shows how Afro-Brazilian concepts and practices preserve and renew an ever-changing diasporic philosophy. Ranging across parades of Black royal courts, Carnaval performing groups, oracular literature, “spirit-dictated” novels, and many other forms, she illuminates the survival and transformation of African cosmologies, epistemologies, and poetics in the Americas. Foregrounding oral narratives, Barra Costa sheds light on the nonhegemonic protagonists and canons of the Black Atlantic: the spaces and beings, kingdoms and heroes, philosophers and historians that orient Afro-Brazilian memory and imagination. By tracing forms of knowledge across the global African diaspora, this deeply interdisciplinary book reveals the transformative potential of Afro-Brazilian philosophical paradigms.

In 2015, students at the University of Cape Town ignited a movement that would reverberate across the globe by demanding the removal of a statue of the British imperialist Cecil Rhodes. What began as a protest against a single monument became Rhodes Must Fall: a confrontation with colonial legacies at South African universities that inspired a movement at Oxford and beyond.A. Kayum Ahmed tells the powerful story of Rhodes Must Fall, tracing the emergence of a new decolonial framework, Fallism, and its trajectory from Africa to empire. Drawing on archival research and interviews with activists, he interprets Fallism as both a critique of the university—rooted in patriarchy, white supremacy, and capitalism—and a broader decolonial theory. Ahmed reveals how students combined acts of defiance with deeper forms of intellectual insurgency to challenge Eurocentric curricula, linguistic hierarchies, and the silencing of Black epistemologies. In so doing, they transformed Black pain—the source of the uprising—into a collective struggle for Black liberation.By following Fallism’s journey, this book demonstrates how student movements create new vocabularies of resistance that transcend geographies of power. It underscores why universities remain battlegrounds in global struggles, from conflicts over statues and curricula to pro-Palestinian protests. Both a history of a movement and a theoretical intervention, Theorizing Fallism illuminates the enduring influence of students to challenge entrenched structures of knowledge and power.

In 2015, students at the University of Cape Town ignited a movement that would reverberate across the globe by demanding the removal of a statue of the British imperialist Cecil Rhodes. What began as a protest against a single monument became Rhodes Must Fall: a confrontation with colonial legacies at South African universities that inspired a movement at Oxford and beyond.A. Kayum Ahmed tells the powerful story of Rhodes Must Fall, tracing the emergence of a new decolonial framework, Fallism, and its trajectory from Africa to empire. Drawing on archival research and interviews with activists, he interprets Fallism as both a critique of the university—rooted in patriarchy, white supremacy, and capitalism—and a broader decolonial theory. Ahmed reveals how students combined acts of defiance with deeper forms of intellectual insurgency to challenge Eurocentric curricula, linguistic hierarchies, and the silencing of Black epistemologies. In so doing, they transformed Black pain—the source of the uprising—into a collective struggle for Black liberation.By following Fallism’s journey, this book demonstrates how student movements create new vocabularies of resistance that transcend geographies of power. It underscores why universities remain battlegrounds in global struggles, from conflicts over statues and curricula to pro-Palestinian protests. Both a history of a movement and a theoretical intervention, Theorizing Fallism illuminates the enduring influence of students to challenge entrenched structures of knowledge and power.

Winner: St. Louis Mercantile Library Prize, Merle Curti Intellectual History Award, Eliza Atkins Gleason Book Award, Arline Custer Memorial Book AwardHonorable Mention: Lawrence W. Levine Award, S-USIH Annual Book PrizeFinalist: ASALH Book Prize for Best New Book in African American History and CultureShortlisted: Modernist Studies Association First Book Prize, MLA Prize for a First BookDuring the first half of the twentieth century, a group of collectors and creators dedicated themselves to documenting the history of African American life. At a time when dominant institutions cast doubt on the value or even the idea of Black history, these bibliophiles, scrapbookers, and librarians created an enduring set of African diasporic archives. In building these institutions and amassing abundant archival material, they also reshaped Black public culture, animating inquiry into the nature and meaning of Black history.Scattered and Fugitive Things tells the stories of these Black collectors, traveling from the parlors of the urban north to HBCU reading rooms and branch libraries in the Jim Crow south. Laura E. Helton chronicles the work of six key figures: bibliophile Arturo Schomburg, scrapbook maker Alexander Gumby, librarians Virginia Lee and Vivian Harsh, curator Dorothy Porter, and historian L. D. Reddick. Drawing on overlooked sources such as book lists and card catalogs, she reveals the risks collectors took to create Black archives. This book also explores the social life of collecting, highlighting the communities that used these collections from the South Side of Chicago to Roanoke, Virginia. In each case, Helton argues, archiving was alive in the present, a site of intellectual experiment, creative abundance, and political possibility. Offering new ways to understand Black intellectual and literary history, Scattered and Fugitive Things reveals Black collecting as a radical critical tradition that reimagines past, present, and future.

Winner: St. Louis Mercantile Library Prize, Merle Curti Intellectual History Award, Eliza Atkins Gleason Book Award, Arline Custer Memorial Book AwardHonorable Mention: Lawrence W. Levine Award, S-USIH Annual Book PrizeFinalist: ASALH Book Prize for Best New Book in African American History and CultureShortlisted: Modernist Studies Association First Book Prize, MLA Prize for a First BookDuring the first half of the twentieth century, a group of collectors and creators dedicated themselves to documenting the history of African American life. At a time when dominant institutions cast doubt on the value or even the idea of Black history, these bibliophiles, scrapbookers, and librarians created an enduring set of African diasporic archives. In building these institutions and amassing abundant archival material, they also reshaped Black public culture, animating inquiry into the nature and meaning of Black history.Scattered and Fugitive Things tells the stories of these Black collectors, traveling from the parlors of the urban north to HBCU reading rooms and branch libraries in the Jim Crow south. Laura E. Helton chronicles the work of six key figures: bibliophile Arturo Schomburg, scrapbook maker Alexander Gumby, librarians Virginia Lee and Vivian Harsh, curator Dorothy Porter, and historian L. D. Reddick. Drawing on overlooked sources such as book lists and card catalogs, she reveals the risks collectors took to create Black archives. This book also explores the social life of collecting, highlighting the communities that used these collections from the South Side of Chicago to Roanoke, Virginia. In each case, Helton argues, archiving was alive in the present, a site of intellectual experiment, creative abundance, and political possibility. Offering new ways to understand Black intellectual and literary history, Scattered and Fugitive Things reveals Black collecting as a radical critical tradition that reimagines past, present, and future.

Winner, 2026 S-USIH Annual Book Prize, Society for U.S. Intellectual HistoryWinner, 2026 Pauli Murray Book Prize in Black Intellectual History, African American Intellectual History SocietyWinner, 2026 ASALH Book Prize, Association for the Study of African American Life and HistoryWinner, 2025 On the Brinck Book Award, University of New Mexico School of Architecture and PlanningBuilt on the grounds of a former cotton plantation, the Tuskegee Institute, founded by Booker T. Washington, offered agricultural and industrial education as a strategy for Black self-determination. There—and in many other communities in the U.S. South, the Caribbean, and Central America—Black people repurposed and regenerated what had been a place of enslavement into a site for imagining alternative futures.Jarvis C. McInnis charts a new account of Black modernity by centering Tuskegee’s vision of agrarian worldmaking. He traces the diasporic ties and networks of exchange that linked Black communities in the late nineteenth and early twentieth centuries. Although Washington is often regarded as an accommodationist, McInnis shows how artists, intellectuals, and political leaders—including George Washington Carver, Jean Price-Mars, Zora Neale Hurston, Claude McKay, and Marcus Garvey—adapted Tuskegee’s methods into dynamic strategies for liberation in places like Cuba, Puerto Rico, Haiti, and Jamaica. Even as the legacy of the plantation continued to circumscribe Black life, these thinkers found resources in its ruins to forge new theories and practices of progress, aesthetic innovation, and freedom that contributed to the New Negro Movement of the 1920s and 1930s.In contrast to traditional understandings of Black modernity as urban and premised on northward migration, McInnis foregrounds rural settings and practices of place making, rootedness, and liberatory agriculture. Shedding new light on the transnational influence of a historically Black institution in the U.S. South, Afterlives of the Plantation remaps Black cultural, intellectual, and political histories down to the very soil.

Winner, 2026 S-USIH Annual Book Prize, Society for U.S. Intellectual HistoryWinner, 2026 Pauli Murray Book Prize in Black Intellectual History, African American Intellectual History SocietyWinner, 2026 ASALH Book Prize, Association for the Study of African American Life and HistoryWinner, 2025 On the Brinck Book Award, University of New Mexico School of Architecture and PlanningBuilt on the grounds of a former cotton plantation, the Tuskegee Institute, founded by Booker T. Washington, offered agricultural and industrial education as a strategy for Black self-determination. There—and in many other communities in the U.S. South, the Caribbean, and Central America—Black people repurposed and regenerated what had been a place of enslavement into a site for imagining alternative futures.Jarvis C. McInnis charts a new account of Black modernity by centering Tuskegee’s vision of agrarian worldmaking. He traces the diasporic ties and networks of exchange that linked Black communities in the late nineteenth and early twentieth centuries. Although Washington is often regarded as an accommodationist, McInnis shows how artists, intellectuals, and political leaders—including George Washington Carver, Jean Price-Mars, Zora Neale Hurston, Claude McKay, and Marcus Garvey—adapted Tuskegee’s methods into dynamic strategies for liberation in places like Cuba, Puerto Rico, Haiti, and Jamaica. Even as the legacy of the plantation continued to circumscribe Black life, these thinkers found resources in its ruins to forge new theories and practices of progress, aesthetic innovation, and freedom that contributed to the New Negro Movement of the 1920s and 1930s.In contrast to traditional understandings of Black modernity as urban and premised on northward migration, McInnis foregrounds rural settings and practices of place making, rootedness, and liberatory agriculture. Shedding new light on the transnational influence of a historically Black institution in the U.S. South, Afterlives of the Plantation remaps Black cultural, intellectual, and political histories down to the very soil.

For Hannibal Lokumbe, music is a profound source of spiritual liberation. A pathbreaking orchestral composer and visionary jazz musician, he composes resonant works that give voice to the freedom struggle of the African diaspora, the broader African American experience, Indigenous histories, and humanity. Many of his works address historical traumas, such as the Middle Passage, the Vietnam War, global environmental disharmony, and targeted racial violence, and focus on major figures, including Medgar Evers, Dr. Martin Luther King Jr., Rosa Parks, Dr. Kim Phúc Phan Thị, and Anne Frank. This innovative book demonstrates that Lokumbe’s musical compositions, created in collaboration with his ancestors, are multisensorial spiritual soundscapes that aspire to chronicle, heal, and liberate. This is a captivating, vital portrait and spiritual biography of Lokumbe. The cultural anthropologist Lauren Coyle Rosen draws on several years of close conversations with Lokumbe, as well as his journals, to provide a powerful collaborative account of his remarkable life and work. The authors explore Lokumbe’s creative journeys and the spiritual dimensions of his art. They trace Lokumbe’s entire career, from his early years in the Texas and New York City jazz scenes to his widely acclaimed orchestral compositions. The book also addresses Lokumbe’s work in prisons and schools with the Music Liberation Orchestra, founded in the 1970s. Illuminating his philosophies of music, spirituality, justice, and freedom, this book immerses readers in Lokumbe’s many revelatory worlds.

For Hannibal Lokumbe, music is a profound source of spiritual liberation. A pathbreaking orchestral composer and visionary jazz musician, he composes resonant works that give voice to the freedom struggle of the African diaspora, the broader African American experience, Indigenous histories, and humanity. Many of his works address historical traumas, such as the Middle Passage, the Vietnam War, global environmental disharmony, and targeted racial violence, and focus on major figures, including Medgar Evers, Dr. Martin Luther King Jr., Rosa Parks, Dr. Kim Phúc Phan Thị, and Anne Frank. This innovative book demonstrates that Lokumbe’s musical compositions, created in collaboration with his ancestors, are multisensorial spiritual soundscapes that aspire to chronicle, heal, and liberate. This is a captivating, vital portrait and spiritual biography of Lokumbe. The cultural anthropologist Lauren Coyle Rosen draws on several years of close conversations with Lokumbe, as well as his journals, to provide a powerful collaborative account of his remarkable life and work. The authors explore Lokumbe’s creative journeys and the spiritual dimensions of his art. They trace Lokumbe’s entire career, from his early years in the Texas and New York City jazz scenes to his widely acclaimed orchestral compositions. The book also addresses Lokumbe’s work in prisons and schools with the Music Liberation Orchestra, founded in the 1970s. Illuminating his philosophies of music, spirituality, justice, and freedom, this book immerses readers in Lokumbe’s many revelatory worlds.

In the late 1960s and early 1970s, prominent figures in the Black Arts Movement (BAM) converted to Islam and took new names. Poets such as Amiri Baraka, Sonia Sanchez, Askia Muhammad Touré, and Marvin X incorporated Islamic words and expressions, references to the Qur’an, and Arabic script, as well as symbols like the crescent star and depictions of Islamic architecture and clothing. They connected places like Harlem, Chicago, Newark, and Oakland to locales in the Muslim world such as Timbuktu, Songhai, and Mecca. These artists also played a pivotal role in developing Black studies and creating alternatives to the Eurocentrism of the American educational system.Ellen McLarney explores how BAM writers identified with Islam as integral to the African American cultural, spiritual, and intellectual heritage. Examining poetry, visual art, music, drama, and mixed-media collaborations, she traces the emergence of a new kind of Islamic art rooted in the African American experience. Their works protested scientific racism, police brutality, colonial domination, and economic oppression while resurrecting a suppressed Islamic past and sharing spiritual visions of a new kind of future. Based on interviews, fieldwork, archival research, and close analysis of key works, this book reveals how BAM redefined Black art, Islamic poetics, and Black Muslim aesthetics in the struggle for racial justice.

In the late 1960s and early 1970s, prominent figures in the Black Arts Movement (BAM) converted to Islam and took new names. Poets such as Amiri Baraka, Sonia Sanchez, Askia Muhammad Touré, and Marvin X incorporated Islamic words and expressions, references to the Qur’an, and Arabic script, as well as symbols like the crescent star and depictions of Islamic architecture and clothing. They connected places like Harlem, Chicago, Newark, and Oakland to locales in the Muslim world such as Timbuktu, Songhai, and Mecca. These artists also played a pivotal role in developing Black studies and creating alternatives to the Eurocentrism of the American educational system.Ellen McLarney explores how BAM writers identified with Islam as integral to the African American cultural, spiritual, and intellectual heritage. Examining poetry, visual art, music, drama, and mixed-media collaborations, she traces the emergence of a new kind of Islamic art rooted in the African American experience. Their works protested scientific racism, police brutality, colonial domination, and economic oppression while resurrecting a suppressed Islamic past and sharing spiritual visions of a new kind of future. Based on interviews, fieldwork, archival research, and close analysis of key works, this book reveals how BAM redefined Black art, Islamic poetics, and Black Muslim aesthetics in the struggle for racial justice.

Since the Middle Passage, the intellectual and physical freedom of Black women in the United States and the Caribbean has been constrained. Yet Black women writers, artists, choreographers, and performers have contested pervasive political, cultural, and discursive silencing by drawing on the traditions and creative visions of multiple Souths: the Southern United States and the Caribbean, as well as Africa.In The Souths in Her—a phrase borrowed from Ntozake Shange—Nicole M. Morris Johnson shows how key Black women artists transformed the enclosing narrative frames imposed on them, developing new forms of creative expression informed by the lived experiences and submerged histories of women across the Africana southern world. She analyzes the intertwined relationship between movement and writing in the works of Zora Neale Hurston, Katherine Dunham, Dianne McIntyre, Maryse Condé, and Shange, among others. Morris Johnson demonstrates that although the central role of motion reinforced perceptions of primitivity that relegated Black women and the South to a space outside modernity, it was in fact crucial to their formal innovations. For these writers and choreographers, unexpected encounters with unfamiliar traditions and creative visions of multiple Souths catalyzed formal experimentation and movements for liberation. Considering the violence routinely inflicted on Black women alongside their artistic innovations, this book reveals a transmuted South that is rich in techniques for weaving liberatory works. Illuminating Black women’s singular contributions to Black modernity, The Souths in Her offers new frames for understanding their embodied and textual creative expression.