Ginwright examines the role of community based organizations (CBOs) in the lives and development of black urban youth. The author argues that these organizations have the potential to provide a powerful influence in "how young people choose to participate in schooling and civic life." Ginwright bases his observations on a five-year study of a CBO he created in Oakland, California. The book shows readers that the lives of poor, black, urban youth are not quite as determined by locale and income as more deterministic readings have argued, and that there is real hope for positive change in these urban communities.

A collection of interviews, speeches, and essays by Langston Hughes. Let America Be America Again: Conversations with Langston Hughes is a record of a remarkable man talking. In texts ranging from early interviews in the 1920s, when he was a busboy and scribbling out poems on hotel napkins, to major speeches, such as his keynote address at the First World Festival of Negro Arts in Dakar, Senegal, in 1966, Hughes's words further amplify the international reputation he established over the course of five decades through more widely-published and well-known poems, stories, novels, and plays. In these interviews, speeches, and conversational essays, the writer referred to by admirers as the "Poet Laureate of the Negro Race" and the "Dean of Black Letters" articulated some of his most powerful critiques of fascism, economic and racial oppression, and compromised democracy. It was also through these genres that Hughes spoke of the responsibilities of the Black artist, documented the essential contributions of Black people to literature, music, and theatre, and chronicled the substantial challenges that Black artists face in gaining recognition, fair pay, and professional advancement. And it was through these pieces, too, that Hughes built on his celebrated work in other literary genres to craft an original, tragic-comic persona--a Blues poet in exile, forever yearning for and coming back to a home, a nation, that nevertheless continues to disappoint and harm him. A global traveler, Hughes's words, "Let America be America Again" were, throughout his career, always followed by a caveat: "America never was America to me."

Chronicles a Black Puerto Rican man’s odyssey and transformation from an incarcerated gang member to the Chairman of the Young Lords Party. Growing up fatherless and poor, Felipe Luciano didn’t yearn for wealth or dream of becoming a famous actor or athlete. He was tired of being poor and ached to be a man, to reach that point of sagacity, courage, and independence that would signal to the world that he was now a warrior, ready to fight the battle for truth and justice, to slay the dragon of evil, whatever that might be. In Flesh and Spirit, Luciano paints a vivid portrait of his life in New York City as a member of the city’s Latino community as well as his pivotal role in the Young Lords and The Last Poets. Luciano’s memoir begins when as a teenage Brooklyn gang member he is convicted of manslaughter. This pivotal moment changes the trajectory of his life. The American kid raised on Davy Crockett and Superman TV tales emerged from the womb of prison into a harsh, new monochromatic black/white world without the benefit of rose-colored glasses. It was a painful shattering of all his childhood beliefs and the realization that he was a poor Black Puerto Rican in white America clutching onto values that didn’t work. The only flotsam in this churning sea of ’60s social turmoil was college, poetry, revolutionary activity, and sometimes God. After getting an education, Luciano went on to become an acclaimed poet and political activist who advocates for the Latino population of New York City, for the kids growing up in the same circumstances he did. Sparing no one—not the revolutionaries, the Revolution, nor the author himself—Flesh and Spirit is written with honesty and humility to help guide young people of color and other Americans through the labyrinths of ideology, organization, missteps, false paths, and phony societal promises.

The Harlem Renaissance, the period associated with the flowering of the arts in Harlem, inaugurated a tradition of African American children's literature, for the movement's central writers made youth both their subject and audience. W.E.B. Du Bois, Carter G. Woodson, Langston Hughes, Alice Dunbar-Nelson, and other Harlem Renaissance figures took an impassioned interest in the literary models offered to children, believing that the ""New Negro"" would ultimately arise from black youth. As a result African American children's literature became a crucial medium through which a disparate community forged bonds of cultural, economic, and aesthetic solidarity. Kate Capshaw Smith explores the period's vigorous exchange about the nature and identity of black childhood and uncovers the networks of African American philosophers, community activists, schoolteachers, and literary artists who worked together to transmit black history and culture to the next generation.

In this brilliantly acerbic collection of essays--a New York Times Notable Book in 1995--Stanley Crouch confirms that he is one of the most eloquent and unpredictable commentators on race and culture in American society--something already known to anyone who's seen him on 60 Minutes or read his columns in The Village Voice and The New Republic. 288 pp. National media appearances.

During the Harlem Renaissance, African-American culture flourished. The period gave birth to numerous significant and enduring creative works that were at once American and emblematic of the black experience in particular. It was a time when African-American culture became more distinct from American culture in general, though it also continued to be a part of America's larger cultural heritage. While the writers, artists, and intellectuals who contributed to the Harlem Renaissance recognized that they had much in common, they also sought to distinguish themselves from one another. This book approaches the achievement of the Harlem Renaissance from the perspective of the conflict between individual and group identity. According to W.E.B. Du Bois, black intellectuals of the period sought to be both Negroes and Americans. At the same time, the relationship of the individual to the group was no less problematic and served to inspire, as well as complicate, the imaginations of the principal figures discussed in this book—W.E.B. Du Bois, Alain Locke, Claude McKay, Jean Toomer, and Zora Neale Hurston. As a consequence, this study focuses on the tension each of these individuals felt as he or she sought to construct a narrative that mirrored this complex experience as well as the problematics of one's own self-identity.

When the United States entered World War II in 1941, Charles Bradley enlisted in the army. An avid skier and mountaineer with a degree in geology, he quickly found himself among the first members of the new 10th Mountain Division, the only unit of the U.S. Army established to train men in mountain combat. Soon, Bradley was training candidates for a potential ground assault on Japan and in a new theater for mountain warfare: the magnificent but potentially life-threatening Aleutian Islands. Bradley's military career kept him from the front lines of the war, but he and his companions had their own battles with loneliness and fatigue, with Aleutian weather and terrain, and with the military brass. The Axis powers were real enough, but the immediate enemy was the environment. It was Bradley's job, now on assignment with the North Pacific Combat School, to help teach his trainees the skills of survival and mobility under conditions that included rugged terrain, glaciers, fierce winds, heavy rains and snow storms, and the threat of avalanches. Each story of confrontation with that rugged environment is balanced by one of discovery and awe. The Aleutians could be dangerous, but they were also an unspoiled realm for adventure and fascination. Soldier Bradley also grew as an artist; his interest in the natural history and geography of the islands is reflected in his paintings of what he saw near his posts, first at Unalaska and later at Adak. It is also reflected in his honest, insightful prose. Bradley is a writer with his own voice, his own clear way of conveying how recruits struggle or how ravens play. Aleutian Echoes is one man's carefully observed, sometimes wry memoir of natural wonders and unnatural challenges.