This week on the blog, we're highlighting one of our most timely and important new releases—The Torture Letters: Reckoning with Police Violence . . .
Black Studies
Five Question for Jennifer A. Jones, author of “The Browning of the New South”
Studies of immigration to the United States have traditionally focused on a few key states and urban centers, but recent shifts in nonwhite settlement mean that these studies no longer paint the whole picture. Many Latino newcomers are flocking to places like the Southeast, where typically few such immigrants have settled, resulting in rapidly redrawn communities. In this historic moment, Jennifer A. Jones brings forth an ethnographic look at changing racial identities in one Southern city: Winston-Salem, North Carolina. To get a better sense of what inspired Jones to focus her book on this particular city, we sent her a few questions recently about her research. How did you come to follow the line of research that forms the backbone of The Browning of the New South? In some ways, I came to the research that forms the backbone of The Browning of the New South by accident. I consider myself a race scholar, and for my MA research I had done some ethnographic research on group identity formation among multiracials. I was really interested in how race gets made and wanted to pursue another project that helped me explore that process. I came to Winston-Salem to do research because . . .
N. D. B. Connolly on “Black Culture is Not the Problem”
N. D. B. Connolly, assistant professor of history at Johns Hopkins University and author of A World More Concrete: Real Estate and the Remaking of Jim Crow South Florida, on “Black Culture is Not the Problem” for the New York Times: The problem is not black culture. It is policy and politics, the very things that bind together the history of Ferguson and Baltimore and, for that matter, the rest of America. Specifically, the problem rests on the continued profitability of racism. Freddie Gray’s exposure to lead paint as a child, his suspected participation in the drug trade, and the relative confinement of black unrest to black communities during this week’s riot are all features of a city and a country that still segregate people along racial lines, to the financial enrichment of landlords, corner store merchants and other vendors selling second-rate goods. The problem originates in a political culture that has long bound black bodies to questions of property. Yes, I’m referring to slavery. To read more about A World More Concrete, click here. . . .
Can We Race Together? An Autopsy
“Can We Race Together? An Autopsy”* by Ellen Berrey *** Corporate diversity dialogues are ripe for backlash, the research shows, even without coffee counter gimmicks. Corporate executives and university presidents are, yet again, calling for public discussion on race and racial inequality. Revelations about the tech industry’s diversity problem have company officials convening panels on workplace barriers, and, at the University of Oklahoma spokespeople and students are organizing town-hall sessions in response to a fraternity’s racist chant. The most provocative of the efforts was Starbucks’ failed Race Together program. In March, the company announced that it would ask baristas to initiate dialogues with customers about America’s most vexing dilemma. Although public outcry shut down those conversations before they even got to “Hello,” Starbucks said it would nonetheless carry on Race Together with forums and special USA Today discussion guides. As someone who has done sociological research on diversity initiatives for the past 15 years, I was intrigued. For a moment, let’s take this seriously What would conversations about race have looked like if they played out as Starbucks imagined, given the social science of race? Can companies, in Starbucks’ CEO Howard Schultz’s words, “create a more empathetic and inclusive society—one conversation . . .
Huey Copeland’s Bound to Appear
Partial excerpt: “Introduction: The Blackness of Things,” from Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America by Huey Copeland *** In Bound to Appear, I explore the significance of transatlantic slavery within critical aesthetic practice at the close of the twentieth century, when, for the first time in history, an appreciable number of artists of non-European ancestry figured prominently in the mainstream United States art world. What emerges from this study is a detailed picture of a how a generation of African American practitioners in the late 1980s and early ’90s negotiated both racialized discourses and art-historical antecedents in framing their work, recasting the appearance of blackness, and making common cause with marked subjects the world over. While few scholars have tried their hands at charting this terrain, the aesthetic and political contradictions that black artists and their audiences confronted did not go unnoticed at the time; indeed, they were heralded and discussed at length in the pages of Time magazine: So often, the news from black America seems to be all bad: crime, broken families, failing schools, abject hopelessness. Yet amid the bleak circumstances that envelop so much of the African-American community, a singularly . . .
2012: A Year in Books
In wrapping of the year’s best-of-2012 lists, we couldn’t help but single out the University of Chicago Press titles that made the cut as reads worth remembering. With that in mind, here’s a list of our books that earned praise as cream of the crop here and abroad, from scholarly journals, literary blogs, metropolitan newspapers, and the like. If you’re looking, might we (and others) recommend— A Naked Singularity by Sergio De La Pava made the Philadelphia City Paper’s Best of the Year list named one of the best books of the year by the Houston Chronicle included in Bookriot’s list of the five most overlooked books of 2012 picked as the book of the year by a bookseller at the Oxford Blackwell’s: “ feel so evangelical about I want to run around screaming ‘YOU MUST READ THIS BOOK OR YOUR LIFE WILL BE INCOMPLETE,’ in Billy Graham style.” named one of the ten best fiction books of 2012 by the Wall Street Journal named by Wall Street Journal fiction editor Sam Sacks as one of his own favorite fiction books of 2012 named by Sasha Frere-Jones of the New Yorker as one of his top books of . . .
Duke Ellington’s America reviewed in the Telegraph
The Telegraph recently ran a review of two new books on two of the greatest names in twentieth century jazz. In his review Ian Thomson sets Harvey G. Cohen’s Duke Ellington’s America alongside a new book on Thelonious Monk, both of which, Thomson argues, eloquently demonstrate how these “two giants of jazz … reinvented black American music.” The review begins: At a funeral in New Orleans in 1901, Joe “King” Oliver played a blues-drenched dirge on the trumpet. This was the new music they would soon call jazz. A century on, from the hothouse stomps of Duke Ellington to the angular doodlings of Thelonious Monk, jazz survives as an important musical voice of America. Ellington was the first jazz composer of real distinction. No other bandleader so consistently redefined the sound and scope of jazz. As a classically trained pianist he fused the hot, syncopated sounds of Jazz Age Harlem with an element of dissonance to produce something unique: a dance music of trance-inducing charm, originality and attack. Continue reading at the telegraph.co.uk and read this excerpt from Cohen’s book. . . .
Harvey Cohen on BBC’s Nightwaves
Harvey G. Cohen, author of Duke Ellington’s America was recently interviewed by Philip Dodd on the BBC Radio 3 program Nightwaves. In the program Cohen discusses the profound influence Ellington and his music had on American culture and the complex role he played in America’s civil rights movement. You can find the archived audio from the interview on their site. (You’ll want to fast forward to about 17.10 for the beginning of Cohen’s interview.) Read an excerpt. . . .
Five Question for Jennifer A. Jones, author of “The Browning of the New South”
Studies of immigration to the United States have traditionally focused on a few key states and urban centers, but recent shifts in nonwhite settlement mean that these studies no longer paint the whole picture. Many Latino newcomers are flocking to places like the Southeast, where typically few such immigrants have settled, resulting in rapidly redrawn communities. In this historic moment, Jennifer A. Jones brings forth an ethnographic look at changing racial identities in one Southern city: Winston-Salem, North Carolina. To get a better sense of what inspired Jones to focus her book on this particular city, we sent her a few questions recently about her research. How did you come to follow the line of research that forms the backbone of The Browning of the New South? In some ways, I came to the research that forms the backbone of The Browning of the New South by accident. I consider myself a race scholar, and for my MA research I had done some ethnographic research on group identity formation among multiracials. I was really interested in how race gets made and wanted to pursue another project that helped me explore that process. I came to Winston-Salem to do research because . . .
N. D. B. Connolly on “Black Culture is Not the Problem”
N. D. B. Connolly, assistant professor of history at Johns Hopkins University and author of A World More Concrete: Real Estate and the Remaking of Jim Crow South Florida, on “Black Culture is Not the Problem” for the New York Times: The problem is not black culture. It is policy and politics, the very things that bind together the history of Ferguson and Baltimore and, for that matter, the rest of America. Specifically, the problem rests on the continued profitability of racism. Freddie Gray’s exposure to lead paint as a child, his suspected participation in the drug trade, and the relative confinement of black unrest to black communities during this week’s riot are all features of a city and a country that still segregate people along racial lines, to the financial enrichment of landlords, corner store merchants and other vendors selling second-rate goods. The problem originates in a political culture that has long bound black bodies to questions of property. Yes, I’m referring to slavery. To read more about A World More Concrete, click here. . . .
Can We Race Together? An Autopsy
“Can We Race Together? An Autopsy”* by Ellen Berrey *** Corporate diversity dialogues are ripe for backlash, the research shows, even without coffee counter gimmicks. Corporate executives and university presidents are, yet again, calling for public discussion on race and racial inequality. Revelations about the tech industry’s diversity problem have company officials convening panels on workplace barriers, and, at the University of Oklahoma spokespeople and students are organizing town-hall sessions in response to a fraternity’s racist chant. The most provocative of the efforts was Starbucks’ failed Race Together program. In March, the company announced that it would ask baristas to initiate dialogues with customers about America’s most vexing dilemma. Although public outcry shut down those conversations before they even got to “Hello,” Starbucks said it would nonetheless carry on Race Together with forums and special USA Today discussion guides. As someone who has done sociological research on diversity initiatives for the past 15 years, I was intrigued. For a moment, let’s take this seriously What would conversations about race have looked like if they played out as Starbucks imagined, given the social science of race? Can companies, in Starbucks’ CEO Howard Schultz’s words, “create a more empathetic and inclusive society—one conversation . . .
Huey Copeland’s Bound to Appear
Partial excerpt: “Introduction: The Blackness of Things,” from Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America by Huey Copeland *** In Bound to Appear, I explore the significance of transatlantic slavery within critical aesthetic practice at the close of the twentieth century, when, for the first time in history, an appreciable number of artists of non-European ancestry figured prominently in the mainstream United States art world. What emerges from this study is a detailed picture of a how a generation of African American practitioners in the late 1980s and early ’90s negotiated both racialized discourses and art-historical antecedents in framing their work, recasting the appearance of blackness, and making common cause with marked subjects the world over. While few scholars have tried their hands at charting this terrain, the aesthetic and political contradictions that black artists and their audiences confronted did not go unnoticed at the time; indeed, they were heralded and discussed at length in the pages of Time magazine: So often, the news from black America seems to be all bad: crime, broken families, failing schools, abject hopelessness. Yet amid the bleak circumstances that envelop so much of the African-American community, a singularly . . .
2012: A Year in Books
In wrapping of the year’s best-of-2012 lists, we couldn’t help but single out the University of Chicago Press titles that made the cut as reads worth remembering. With that in mind, here’s a list of our books that earned praise as cream of the crop here and abroad, from scholarly journals, literary blogs, metropolitan newspapers, and the like. If you’re looking, might we (and others) recommend— A Naked Singularity by Sergio De La Pava made the Philadelphia City Paper’s Best of the Year list named one of the best books of the year by the Houston Chronicle included in Bookriot’s list of the five most overlooked books of 2012 picked as the book of the year by a bookseller at the Oxford Blackwell’s: “ feel so evangelical about I want to run around screaming ‘YOU MUST READ THIS BOOK OR YOUR LIFE WILL BE INCOMPLETE,’ in Billy Graham style.” named one of the ten best fiction books of 2012 by the Wall Street Journal named by Wall Street Journal fiction editor Sam Sacks as one of his own favorite fiction books of 2012 named by Sasha Frere-Jones of the New Yorker as one of his top books of . . .
Duke Ellington’s America reviewed in the Telegraph
The Telegraph recently ran a review of two new books on two of the greatest names in twentieth century jazz. In his review Ian Thomson sets Harvey G. Cohen’s Duke Ellington’s America alongside a new book on Thelonious Monk, both of which, Thomson argues, eloquently demonstrate how these “two giants of jazz … reinvented black American music.” The review begins: At a funeral in New Orleans in 1901, Joe “King” Oliver played a blues-drenched dirge on the trumpet. This was the new music they would soon call jazz. A century on, from the hothouse stomps of Duke Ellington to the angular doodlings of Thelonious Monk, jazz survives as an important musical voice of America. Ellington was the first jazz composer of real distinction. No other bandleader so consistently redefined the sound and scope of jazz. As a classically trained pianist he fused the hot, syncopated sounds of Jazz Age Harlem with an element of dissonance to produce something unique: a dance music of trance-inducing charm, originality and attack. Continue reading at the telegraph.co.uk and read this excerpt from Cohen’s book. . . .
Harvey Cohen on BBC’s Nightwaves
Harvey G. Cohen, author of Duke Ellington’s America was recently interviewed by Philip Dodd on the BBC Radio 3 program Nightwaves. In the program Cohen discusses the profound influence Ellington and his music had on American culture and the complex role he played in America’s civil rights movement. You can find the archived audio from the interview on their site. (You’ll want to fast forward to about 17.10 for the beginning of Cohen’s interview.) Read an excerpt. . . .
Bronzeville: Recommended reading for a new podcast
Josh Olson’s new 10-part podcast Bronzeville, which stars Laurence Fishburne, Larenz Tate, and Tika Sumpter, chronicles the lives of players in the illegal lottery that swept the African American community in the 1940s before the game was taken over by the mob. If that’s not enticing enough, here’s a list of some recommended background reading on the city, then and now; how it become one of America’s most iconic black neighborhoods; and why its redevelopment—in which the middle class benefits as lower-income residents are pushed out—continues to matter, now more than ever. *** Derek S. Hyra’s The New Urban Renewal: The Economic Transformation of Harlem and Bronzeville explores the shared metamorphosis of these formerly notorious urban ghettos into two of our most iconic black communities, as the pressure of late-capitalist gentrification and a complicated web of factors—local, national, and global—shaped their remarkable revitalization. St. Clair Drake and Horace R. Cayton’s Black Metropolis: A Study of Negro Life in a Northern City, based on research conducted by Works Progress Administration field workers, is a sweeping historical and sociological account of the people of Chicago’s South Side from the 1840s through the 1930s, as path-breaking today as it was when it was first published in 1945. Diane Grams’s Producing Local . . .
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