Empfehlungen basierend auf "Her Blue Body"

As indigenous scientist and author of Braiding Sweetgrass Robin Wall Kimmerer harvests serviceberries alongside the birds, she considers the ethic of reciprocity that lies at the heart of the gift economy. How, she asks, can we learn from indigenous wisdom and the plant world to reimagine what we value most? Our economy is rooted in scarcity, competition, and the hoarding of resources, and we have surrendered our values to a system that actively harms what we love. Meanwhile, the serviceberry's relationship with the natural world is an embodiment of reciprocity, interconnectedness, and gratitude. The tree distributes its wealth--its abundance of sweet, juicy berries--to meet the needs of its natural community. And this distribution insures its own survival. As Kimmerer explains, "Serviceberries show us another model, one based upon reciprocity, where wealth comes from the quality of your relationships, not from the illusion of self-sufficiency." As Elizabeth Gilbert writes, Robin Wall Kimmerer is "a great teacher, and her words are a hymn of love to the world." The Serviceberry is an antidote to the broken relationships and misguided goals of our times, and a reminder that "hoarding won't save us, all flourishing is mutual."

The New York Times bestselling author of Reading Lolita in Tehran returns with a guide to the power of literature in turbulent times, arming readers with a resistance reading list, ranging from James Baldwin to Zora Neale Hurston to Margaret Atwood."[A] stunning look at the power of reading. ... Provokes and inspires at every turn." —Publishers Weekly (starred review)"Remarkable. ... Audacious." —The Progressive"Stunningly beautiful and perceptive." —Los Angeles Review of BooksWhat is the role of literature in an era when one political party wages continual war on writers and the press? What is the connection between political strife in our daily lives, and the way we meet our enemies on the page in fiction? How can literature, through its free exchange, affect politics?In this galvanizing guide to literature as resistance, Nafisi seeks to answer these questions. Drawing on her experiences as a woman and voracious reader living in the Islamic Republic of Iran, her life as an immigrant in the United States, and her role as literature professor in both countries, she crafts an argument for why, in a genuine democracy, we must engage with the enemy, and how literature can be a vehicle for doing so.Structured as a series of letters to her father, who taught her as a child about how literature can rescue us in times of trauma, Nafisi explores the most probing questions of our time through the works of Toni Morrison, Salman Rushdie, James Baldwin, Margaret Atwood, and more.

A surprising and beautiful meditation on the color blue—and its fascinating role in Black history and culture—from National Book Award winner Imani PerryThroughout history, the concept of Blackness has been remarkably intertwined with another color: blue. In daily life, it is evoked in countless ways. Blue skies and blue water offer hope for that which lies beyond the current conditions. But blue is also the color of deep melancholy and heartache, echoing Louis Armstrong’s question, “What did I do to be so Black and blue?” In this book, celebrated author Imani Perry uses the world’s favorite color as a springboard for a riveting emotional, cultural, and spiritual journey—an examination of race and Blackness that transcends politics or ideology.Perry traces both blue and Blackness from their earliest roots to their many embodiments of contemporary culture, drawing deeply from her own life as well as art and history: The dyed indigo cloths of West Africa that were traded for human life in the 16th century. The mixture of awe and aversion in the old-fashioned characterization of dark-skinned people as “Blue Black.” The fundamentally American art form of blues music, sitting at the crossroads of pain and pleasure. The blue flowers Perry plants to honor a loved one gone too soon.Poignant, spellbinding, and utterly original, Black in Blues is a brilliant new work that could only have come from the mind of one of our greatest writers and thinkers. Attuned to the harrowing and the sublime aspects of the human experience, it is every bit as vivid, rich, and striking as blue itself.

LA Times winner for The Christopher Isherwood Prize for Autobiographical Prose A New York Times bestseller A New York Times Editors' Choice A Featured Title in The New York Times Book Review's "Paperback Row" A Bustle "17 Books About Race Every White Person Should Read" "Essential reading."--Junot Diaz "Electric...so well reported, so plainly told and so evidently the work of a man who has not grown a callus on his heart."--Dwight Garner, New York Times, "A Top Ten Book of 2016" "I'd recommend everyone to read this book because it's not just statistics, it's not just the information, but it's the connective tissue that shows the human story behind it." -- Trevor Noah, The Daily Show A deeply reported book that brings alive the quest for justice in the deaths of Michael Brown, Tamir Rice, and Freddie Gray, offering both unparalleled insight into the reality of police violence in America and an intimate, moving portrait of those working to end it Conducting hundreds of interviews during the course of over one year reporting on the ground, Washington Post writer Wesley Lowery traveled from Ferguson, Missouri, to Cleveland, Ohio; Charleston, South Carolina; and Baltimore, Maryland; and then back to Ferguson to uncover life inside the most heavily policed, if otherwise neglected, corners of America today. In an effort to grasp the magnitude of the repose to Michael Brown's death and understand the scale of the problem police violence represents, Lowery speaks to Brown's family and the families of other victims other victims' families as well as local activists. By posing the question, "What does the loss of any one life mean to the rest of the nation?" Lowery examines the cumulative effect of decades of racially biased policing in segregated neighborhoods with failing schools, crumbling infrastructure and too few jobs. Studded with moments of joy, and tragedy, They Can't Kill Us All offers a historically informed look at the standoff between the police and those they are sworn to protect, showing that civil unrest is just one tool of resistance in the broader struggle for justice. As Lowery brings vividly to life, the protests against police killings are also about the black community's long history on the receiving end of perceived and actual acts of injustice and discrimination. They Can't Kill Us All grapples with a persistent if also largely unexamined aspect of the otherwise transformative presidency of Barack Obama: the failure to deliver tangible security and opportunity to those Americans most in need of both.

An exquisite meditation on the geographies we inherit and the metaphors we inhabit, from Pulitzer Prize winner and nineteenth U.S. poet laureate Natasha Trethewey "Searching and intimate, this impresses."--Publishers Weekly In a shotgun house in Gulfport, Mississippi, at the crossroads of Highway 49, the legendary highway of the Blues, and Jefferson Street, Natasha Trethewey learned to read and write. Before the land was a crossroads, however, it was a pasture: a farming settlement where, after the Civil War, a group of formerly enslaved women, men, and children made a new home. In this intimate and searching meditation, Trethewey revisits the geography of her childhood to trace the origins of her writing life, born of the need to create new metaphors to inhabit "so that my story would not be determined for me." She recalls the markers of history and culture that dotted the horizons of her youth: the Confederate flags proudly flown throughout Mississippi; her gradual understanding of her own identity as the child of a Black mother and a white father; and her grandmother's collages lining the hallway, offering glimpses of the world as it could be. With the clarity of a prophet and the grace of a poet, Trethewey offers up a vision of writing as reclamation: of our own lives and the stories of the vanished, forgotten, and erased.

“As timely as it is well-written, this clear-eyed collection is just what I need right now.” —Jacqueline Woodson, author of Brown Girl Dreaming“The intersectional feminist anthology we all need to read” (Bustle), edited by a feminist activist and writer who “calls to mind a young Audre Lorde” (Kirkus)Why do some women struggle to identify as feminists, despite their commitment to gender equality? How do other aspects of our identities – such as race, religion, sexuality, gender identity, and more – impact how we relate to feminism? Why is intersectionality so important?In challenging, incisive, and fearless essays – all of which appear here for the first time – seventeen writers from diverse backgrounds wrestle with these questions, and more. A groundbreaking book that elevates underrepresented voices, Can We All Be Feminists? offers the tools and perspective we need to create a 21st century feminism that is truly for all.Including essays by: Soofiya Andry, Gabrielle Bellot, Caitlin Cruz, Nicole Dennis-Benn, Brit Bennett, Evette Dionne, Aisha Gani, Afua Hirsch, Juliet Jacques, Wei Ming Kam, Mariya Karimjee, Eishar Kaur, Emer O’Toole, Frances Ryan, Zoé Samudzi, Charlotte Shane, and Selina Thompson

Dozens of books have been written about Eleanor Roosevelt, but her own writings are largely confined to the Roosevelt archives in Hyde Park. Courage in a Dangerous World allows her own voice again to be heard. Noted Eleanor Roosevelt scholar Allida M. Black has gathered more than two hundred columns, articles, essays, and speeches culled from archives whose pages number in the millions, tracing her development from timorous columnist to one of liberalism's most outspoken leaders.From "My Day" newspaper columns about Marian Anderson and excerpts from Moral Basis of Democracy and This Troubled World to speeches and articles on the Holocaust and McCarthyism, this anthology provides readers with the tools to reconstruct the politics of a woman who redefined American liberalism and democratic reform. Arranged chronologically and by topic, the volume covers the New Deal years, the White House years, World War II at home and abroad, the United Nations and human rights, the Cold War, the civil rights movement, the resurgence of feminism, and much more. In addition, the collection features excerpts from Eleanor Roosevelt's correspondence with Franklin Delano Roosevelt, Harry S. Truman, Adlai Stevenson, J. Edgar Hoover, John F. Kennedy, and ordinary Americans.The volume features a collection of 30 rare photographs. A comprehensive bibliography of Eleanor Roosevelt's articles serves as a valuable resource, providing a link to the issues she held dear, many of which are still hotly debated today.

One Sunday afternoon in February 1977, Toni Morrison, Alice Walker, Ntozake Shange, and several other Black women writers met at June Jordan’s Brooklyn apartment to eat gumbo, drink champagne, and talk about their work. Calling themselves “The Sisterhood,” the group―which also came to include Audre Lorde, Paule Marshall, Margo Jefferson, and others―would get together once a month over the next two years, creating a vital space for Black women to discuss literature and liberation.The Sisterhood tells the story of how this remarkable community transformed American writing and cultural institutions. Drawing on original interviews with Sisterhood members as well as correspondence, meeting minutes, and readings of their works, Courtney Thorsson explores the group’s everyday collaboration and profound legacy. The Sisterhood advocated for Black women writers at trade publishers and magazines such as Random House, Ms., and Essence, and eventually in academic departments as well―often in the face of sexist, racist, and homophobic backlash. Thorsson traces the personal, professional, and political ties that brought the group together as well as the reasons for its dissolution. She considers the popular and critical success of Sisterhood members in the 1980s, the uneasy absorption of Black feminism into the academy, and how younger writers built on the foundations the group laid. Highlighting the organizing, networking, and community building that nurtured Black women’s writing, this book demonstrates that The Sisterhood offers an enduring model for Black feminist collaboration.

From Guardian contributor BBC race correspondent Emma Dabiri comes an essay collection exploring the ways in which black hair has been appropriated and stigmatized throughout history, with ruminations on body politics, race, pop culture, and Dabiri’s own journey to loving her hair.Emma Dabiri can tell you the first time she chemically straightened her hair. She can describe the smell, the atmosphere of the salon, and her mix of emotions when she saw her normally kinky tresses fall down her shoulders. For as long as Emma can remember, her hair has been a source of insecurity, shame, and—from strangers and family alike—discrimination. And she is not alone.Despite increasingly liberal world views, black hair continues to be erased, appropriated, and stigmatized to the point of taboo. Through her personal and historical journey, Dabiri gleans insights into the way racism is coded in society’s perception of black hair—and how it is often used as an avenue for discrimination. Dabiri takes us from pre-colonial Africa, through the Harlem Renaissance, and into today's Natural Hair Movement, exploring everything from women's solidarity and friendship, to the criminalization of dreadlocks, to the dubious provenance of Kim Kardashian's braids.Through the lens of hair texture, Dabiri leads us on a historical and cultural investigation of the global history of racism—and her own personal journey of self-love and finally, acceptance.

A People Pick!“One of the year’s must-reads.” –ELLE“[A] provocative, heart-breaking, and frequently hilarious collection.” –GLAMOUR“Essential, vital, and urgent.” –HARPER’S BAZAARIn the vein of Roxane Gay’s Bad Feminist and Issa Rae’s The Misadventures of Awkward Black Girl, but wholly its own, a provocative, humorous, and, at times, heartbreaking collection of essays on what it means to be black, a woman, a mother, and a global citizen in today's ever-changing world.Black women have never been more visible or more publicly celebrated than they are now. But for every new milestone, every magazine cover, every box office record smashed, every new face elected to public office, the reality of everyday life for black women remains a complex, conflicted, contradiction-laden experience.An American journalist who has been living and working in London for a decade, Kenya Hunt has made a career of distilling moments, movements, and cultural moods into words. Her work takes the difficult and the indefinable and makes it accessible; it is razor sharp cultural observation threaded through evocative and relatable stories.Girl Gurl Grrrl both illuminates our current cultural moment and transcends it. Hunt captures the zeitgeist while also creating a timeless celebration of womanhood, of blackness, and the possibilities they both contain. She blends the popular and the personal, the frivolous and the momentous in a collection that truly reflects what it is to be living and thriving as a black woman today.