Its Good To Be Black

From the preface by Carmen Kenya Wadley: “Is it good to be black? To Ruby Berkley Goodwin it was....The black she writes about has nothing to do with skin color, but it does have a great deal to do with self images, values, spiritual strength, and most of all love. Unlike the contradicting definitions of blackness we see reflected in today's crime statistics, movies, television, newspapers, political speeches, advertisements, and sociological reports, Ruby Berkley Goodwin's definition of blackness is simple and to the point: black is good. It's Good to be Black is more than the story (history) of a black family living in Du Quoin, Illinois, during the early 1900s; it is a reaffirmation for all of us who know in our hearts that there is still good in the world and that some of that good is black.”

From the preface by Carmen Kenya Wadley: “Is it good to be black? To Ruby Berkley Goodwin it was....The black she writes about has nothing to do with skin color, but it does have a great deal to do with self images, values, spiritual strength, and most of all love. Unlike the contradicting definitions of blackness we see reflected in today's crime statistics, movies, television, newspapers, political speeches, advertisements, and sociological reports, Ruby Berkley Goodwin's definition of blackness is simple and to the point: black is good. It's Good to be Black is more than the story (history) of a black family living in Du Quoin, Illinois, during the early 1900s; it is a reaffirmation for all of us who know in our hearts that there is still good in the world and that some of that good is black.”

Maggie and John Anderson were successful African American professionals raising two daughters in a tony suburb of Chicago. But they felt uneasy over their good fortune. Most African Americans live in economically starved neighborhoods. Black wealth is about one tenth of white wealth, and black businesses lag behind businesses of all other racial groups in every measure of success. One problem is that black consumers--unlike consumers of other ethnicities-- choose not to support black-ownedbusinesses. At the same time, most of the businesses in their communities are owned by outsiders. On January 1, 2009 the Andersons embarked on a year-long public pledge to "buy black." They thought that by taking a stand, the black community would be mobilized to exert its economic might. They thought that by exposing the issues, Americans of all races would see that economically empowering black neighborhoods benefits society as a whole. Instead, blacks refused to support their own, and others condemned their experiment. Drawing on economic research and social history as well as her personal story, Maggie Anderson shows why the black economy continues to suffer and issues a call to action to all of us to do our part to reverse this trend.

The New York Times best-selling book exploring the counterproductive reactions white people have when their assumptions about race are challenged, and how these reactions maintain racial inequality. In this “vital, necessary, and beautiful book” (Michael Eric Dyson), antiracist educator Robin DiAngelo deftly illuminates the phenomenon of white fragility and “allows us to understand racism as a practice not restricted to ‘bad people’ (Claudia Rankine). Referring to the defensive moves that white people make when challenged racially, white fragility is characterized by emotions such as anger, fear, and guilt, and by behaviors including argumentation and silence. These behaviors, in turn, function to reinstate white racial equilibrium and prevent any meaningful cross-racial dialogue. In this in-depth exploration, DiAngelo examines how white fragility develops, how it protects racial inequality, and what we can do to engage more constructively.

New York TimesBestseller Baratunde Thurston’s comedic memoir chronicles his coming-of-blackness and offers practical advice on everything from “How to Be the Black Friend” to “How to Be the (Next) Black President”. Have you ever been called “too black” or “not black enough”? Have you ever befriended or worked with a black person? Have you ever heard of black people? If you answered yes to any of these questions, this book is for you. It is also for anyone who can read, possesses intelligence, loves to laugh, and has ever felt a distance between who they know themselves to be and what the world expects. Raised by a pro-black, Pan-Afrikan single mother during the crack years of 1980s Washington, DC, and educated at Sidwell Friends School and Harvard University, Baratunde Thurston has more than over thirty years' experience being black. Now, through stories of his politically inspired Nigerian name, the heroics of his hippie mother, the murder of his drug-abusing father, and other revelatory black details, he shares with readers of all colors his wisdom and expertise in how to be black. “As a black woman, this book helped me realize I’m actually a white man.”—Patton Oswalt

White people of America, we know you've got it rough. Sure, black men and women have been through four hundred years of slavery, oppression, murder, and watching white college students try to dance. But now that it's hip to have black friends, white people aren't sure how to go about it. And that is a real American tragedy. Thank God Nick Adams is here to help you avoid potential racial pitfalls and successfully make the transition from white to "aiight." Now, you'll know not to start a conversation with, "So, that new Jay-Z album is pretty great, right?" Or tell a co-worker he looks just like (fill in blank with name of dark-skinned person who works in the other building.) You'll know that a lot of black people you meet at parties or work functions don't care who played Thelma's husband on "Good Times", don't want to discuss the Malcolm X biography you just read and definitely don't want to listen to country music. Ever. Yes, it's a good thing Nick is here to explain. Because if we're going to live together in peace and harmony, you people are going to need help. Black People, Briefly Explained. A Q&A with Nick Adams Q: Nick, what is the correct term to use when addressing my new friends: Black or African-American? A: Personally, I always liked Afro-American. I liked being named after a 1970's hairdo. But then I wondered why we didn't become the Jheri-curled Americans or High Top Fade Americans. Q: Nick, if black people can use the "N" word as a term of endearment, can I, a white person, do so? A: No. I don't care if you have your hair in cornrows while wearing a Phat Farm t-shirt at an R. Kelly concert. Black people don't get to be president, and white people don't get to use the word nigger. Can we just call it even now? Q: Nick, I'd like to try slang. Is that okay? A: When you guys start using our words, that's when we know it's time for us to stop using them. Every time a white, middle-aged math teacher calls a student, "dog," black people all over the country are notified via email. Believe it. Q: Nick, surely you have to agree that Eminem is a hip-hop visionary? A: Let's try this one more time: Kurtis Blow, RUN-DMC, LL Cool J, Rakim, Chuck D, KRS-One, Tupac, Notorious B.I.G., Nas, Common, Mos Def, Bitch!

Friends reminisce about the past during another friend's funeral in India and explore the possibility that one of them may have murdered the deceased in order to avoid a scandal involving the delivery of tainted milk to her shelter.

As early as the eighteenth century, white Americans and Europeans believed that people of African descent could not experience nostalgia. As a result, black lives have been predominately narrated through historical scenes of slavery and oppression. This phenomenon created a missing archive of romantic historical memories. Badia Ahad-Legardy mines literature, visual culture, performance, and culinary arts to form an archive of black historical joy for use by the African-descended. Her analysis reveals how contemporary black artists find more than trauma and subjugation within the historical past. Drawing on contemporary African American culture and recent psychological studies, she reveals nostalgia’s capacity to produce positive emotions. Afro-nostalgia emerges as an expression of black romantic recollection that creates and inspires good feelings even within our darkest moments. Original and provocative, Afro-Nostalgia offers black historical pleasure as a remedy to contend with the disillusionment of the present and the traumas of the past.