Revisiting an almost-forgotten American interracial literary culture that advanced racial pluralism in the decades before the 1960s In Impermanent Blackness, Korey Garibaldi explores interracial collaborations in American commercial publishing—authors, agents, and publishers who forged partnerships across racial lines—from the 1910s to the 1960s. Garibaldi shows how aspiring and established Black authors and editors worked closely with white interlocutors to achieve publishing success, often challenging stereotypes and advancing racial pluralism in the process. Impermanent Blackness explores the complex nature of this almost-forgotten period of interracial publishing by examining key developments, including the mainstream success of African American authors in the 1930s and 1940s, the emergence of multiracial children’s literature, postwar tensions between supporters of racial cosmopolitanism and of “Negro literature,” and the impact of the Civil Rights and Black Power movements on the legacy of interracial literary culture. By the end of the 1960s, some literary figures once celebrated for pushing the boundaries of what Black writing could be, including the anthologist W. S. Braithwaite, the bestselling novelist Frank Yerby, the memoirist Juanita Harrison, and others, were forgotten or criticized as too white. And yet, Garibaldi argues, these figures—at once dreamers and pragmatists—have much to teach us about building an inclusive society. Revisiting their work from a contemporary perspective, Garibaldi breaks new ground in the cultural history of race in the United States.

The book contains all the mainpraises used in Puja during Navaratri. The Devi Mahatmyam is given in English only, while the other praises such as the Devi Kavach, Devi Atharva Sheersha, etc. are given in annotated Sanskrit with English translations. There is a section explaining which Deities are worshipped and which praises are traditionally used on each night in accordance with what was practised by H.H. Shri Mataji or in Her presence.

Drawing from a wide spectrum of disciplines, the essays in this collection examine in different national contexts the consequences of the "Latin American multicultural turn" in Afro Latino social movements of the past two decades.

In Black Gathering Sarah Jane Cervenak engages with Black artists and writers who create alternative spaces for Black people to gather free from interruption or regulation. Drawing together Black feminist theory, critical theories of ecology and ecoaesthetics, and Black aesthetics, Cervenak shows how novelists, poets, and visual artists such as Gayl Jones, Toni Morrison, Clementine Hunter, Samiya Bashir, and Leonardo Drew advance an ecological imagination that unsettles Western philosophical ideas of the earth as given to humans. In their aestheticization and conceptualization of gathering, these artists investigate the relationships among art, the environment, home, and forms of Black togetherness. Cervenak argues that by offering a formal and conceptual praxis of gathering, Black artists imagine liberation and alternative ways of being in the world that exist beyond those Enlightenment philosophies that presume Black people and earth as given to enclosure and ownership.

Two former prisoners of the Vietnam War, one an Indian from the Blackfeet Indian Reservation and the other a veterinarian, both alcoholic and psychologically scarred, reunite and fly to Montana’s Glacier National Park. When they make a forced landing in the wilderness, their plane breaks a strut and they have no choice but to make camp for the winter. Eventually, two young sisters who have wandered off their trail join them. Marooned together in a small cabin during fierce winter storms, they struggle to keep warm, find enough to eat and, hopefully, wait for a break in the weather. All four are lost, not only physically, but also psychically, and it is this unplanned intimacy, the struggle to survive, and the developing friendships that lead to the transformations that lie at the heart of this novel.

In 1948, journalist Ray Sprigle traded his whiteness to live as a black man for four weeks. A little over a decade later, John Howard Griffin famously "became" black as well, traveling the American South in search of a certain kind of racial understanding. Contemporary history is littered with the surprisingly complex stories of white people passing as black, and here Alisha Gaines constructs a unique genealogy of "empathetic racial impersonation--white liberals walking in the fantasy of black skin under the alibi of cross-racial empathy. At the end of their experiments in "blackness," Gaines argues, these debatably well-meaning white impersonators arrived at little more than false consciousness. Complicating the histories of black-to-white passing and blackface minstrelsy, Gaines uses an interdisciplinary approach rooted in literary studies, race theory, and cultural studies to reveal these sometimes maddening, and often absurd, experiments of racial impersonation. By examining this history of modern racial impersonation, Gaines shows that there was, and still is, a faulty cultural logic that places enormous faith in the idea that empathy is all that white Americans need to make a significant difference in how to racially navigate our society.

What happens to a country that was built on race when the boundaries of black and white have started to fade? Not only is the literal face of America changing where white will no longer be the majority, but the belief in the firmness of these categories and the boundaries that have been drawn is also disintegrating. In a nuanced reading of culture in a post Obama America, this book asks what will become of the racial categories of black and white in an increasingly multi-ethnic, racially ambiguous, and culturally fluid country. Through readings of sites of cultural friction such as the media frenzy around ‘transracial’ Rachel Dolezal, the new popularity of racially ambiguous dolls, and the confusion over Obama’s race, Fading Out Black and White explores the contemporary construction of race. This insightful, provocative glimpse at identity formation in the US reviews the new frontier of race and looks back at the archaism of the one-drop rule that is unique to America.

“Those looking to move beyond performative allyship will find this an excellent resource.” —Publishers Weekly What if there were a set of rules to educate people against race-based social faux pas that damage relationships, perpetuate racist stereotypes, and harm people of color? This book provides just that in an effort to slow the malignant domino effect of race-based ignorance in American communities and workplaces to help address the vestiges of our nation's racist past. Race Rules is an innovative, practical manual for white people of the unwritten rules relating to race, explaining the unvarnished truth about racist and offensive white behaviors. It offers a unique lens from Fatimah Gilliam, a light-skinned Black woman, and is informed by the revealing things white people say when they don't realize she's Black. Presented as a series of race rules, this book has each chapter tackling a specific topic many people of color wish white people understood. Combining history and explanations with practical advice, it goes beyond the theoretical by focusing on what's implementable. Gilliam addresses issues such as: Racial blinders and misperceptions White privilege Racial stereotypes Everyday choices and behaviors that cause racial harm Introducing a straightforward universal three-step framework to unlearn racism and challenge misconceptions, this book offers readers a chance to change behaviors and shift mindsets to better navigate cross-racial interactions and relationships. Through its race etiquette guidelines, it teaches white people to become action-oriented racism disruptors instead of silent, complicit supporters of white supremacy.

Examines the painted body of the actor on the early modern stage. Inventions of the Skin illuminates a history of the stage technology of paint that extends backward to the 1460s York cycle and forward to the 1630s. Organized as a series of studies, the four chapters of this book examine goldface and divinity in York's Corpus Christi play, with special attention to the pageant representing The Transfiguration of Christ; bloodiness in Elizabethan and Jacobean drama, specifically blood's unexpected role as a device for disguise in plays such as Look About You (anon.) and Shakespeare's Coriolanus; racial masquerade within seventeenth-century court performances and popular plays, from Ben Jonson's Masque of Blackness to William Berkeley's The Lost Lady; and finally whiteface, death, and stoniness"e; in Thomas Middleton's The Second Maiden's Tragedy and Shakespeare's The Winter's Tale. Recovering a crucial grammar of theatrical representation, this book argues that the onstage embodiment of characters--not just the words written for them to speak--forms an important and overlooked aspect of stage representation.

Here, Lau provides a new framework for understanding European fairy tales in the milieux in which they were created, bringing distant and ethereal worlds back to earth.