Douglass' black and white self portraits, turn the North Country, of Northern New York, into a bizarre, unfamiliar place. A collector of flotsam and jetsam, she pieces together past, present and future. Searching for signs of life in a dusty, decaying world, Douglass issues a call to action: "No one is coming to save you. You must save yourself." Her photographs and prose are a transfusion of life into a dying world.
A marvel of scholarship and artistry. The general reader will be fascinated to discover the vitality of the free black community that Langston moved and moved in." -- Joyce Appleby, University of California "Provides the mirror in which to reflect Langston's brilliant, turbulent career, as well as the nation's ongoing struggle against racism. Life-and-times biography could be put to no better use." -- David W. Blight, Journal of American History "One of the most thorough studies ever done of a nineteenth-century black American. It] will be the standard." -- J. M. Matthews, Choice "Breaks new and important ground in the field of African-American history. . . . It] is both a social history of the period and the remarkable story of Langston's formative life and career as a free black Ohioan in pre-Civil War America." -- David C. Dennard, Journal of Southern History "A sensitive biography of a black leader and a full-scale history of the society in which he matured and began his career." -- John B. Boles, American Historical Review "The Cheeks have masterfully performed . . . their chief task--the transformation of autobiography into social history." -- Wilson J. Moses, Reviews in American History A volume in the series Blacks in the New World, edited by August Meier and John H. Bracey
In the late 1970s, Hollywood producers took the published biography of Crystal Lee Sutton, a white southern textile worker, and transformed it into a blockbuster 1979 film, Norma Rae, featuring Sally Field in the title role. This fascinating book reveals how the film and the popular icon it created each worked to efface the labor history that formed the foundation of the film's story. Drawing on an impressive range of sources—union records, industry reports, film scripts, and oral histories—Aimee Loiselle's cutting-edge scholarship shows how gender, race, culture, film, and mythology have reconfigured and often undermined the history of the American working class and its labor activism. While Norma Rae constructed a powerful image of individual defiance by a white working-class woman, Loiselle demonstrates that female industrial workers across the country and from diverse racial backgrounds understood the significance of cultural representation and fought to tell their own stories. Loiselle painstakingly reconstructs the underlying histories of working women in this era and makes clear that cultural depictions must be understood as the complicated creations they are.
Taking a broad view of the ongoing efforts to attain rights for women, this work provides unique insight into the context of the issues and reveals the range of factors that can influence a particular policy decision. What constitutes "women's rights" depends on whom you ask—or who is in political office at the time. Understandably, women's rights have changed across time as perceptions of women and their roles have changed. What remains consistent regardless of the historic era is that rights assumed by men often must be specifically granted to women. This book presents an overview of women's rights that also addresses specific policy decisions. Within each policy entry, the author explains the factors that can influence a particular policy decision, such as the current American political culture, prevailing views of women as mothers and caretakers, perceptions of female/male relationships, systemic governmental influences, and conflicting opinions over the role of government in decisions related specifically to women's lives. The book's conclusion examines current issues, encouraging students to consider whether or not these rights will continue to evolve along with U.S. society and women's roles in it.
A pioneer and leader in providing education and opportunity to the Palmetto State's black population, South Carolina State University has created and sustained an academic tradition of excellence since its inception in 1896. Founded as the Colored, Normal, Industrial, Agricultural and Mechanical College of South Carolina, this historically black college has evolved over the decades to become one of the South's premier academic institutions. This volume, with over 200 black-and-white photographs, traces the institution's history from the college's first years under Thomas Miller to the present, under the guidance of Leroy Davis. Recording, in word and image, the academic traditions and eclectic campus activities over the past century, this unique pictorial retrospective touches upon many elements of the Bulldog experience, including early scenes of turn-of-the-century courses, such as cheese-making, tailoring, brick masonry, and beekeeping; photographs of various athletic teams over the years; and pictures of early campus organizations, like the college band, the New Farmers of America, and the first ROTC officers. However, college memories are not just shaped by coursework and extracurricular organizations, but are fondly remembered in the context of everyday life on campus, from the dormitories, such as Lowman, Manning, and Miller Halls, to historic academic buildings, like White and Wilkinson Halls, to two locations where students spent countless hours--Floyd Dining Hall and Miller F. Whittaker Library.
In Migrant Futures Aimee Bahng traces the cultural production of futurity by juxtaposing the practices of speculative finance against those of speculative fiction. While financial speculation creates a future based on predicting and mitigating risk for wealthy elites, the wide range of speculative novels, comics, films, and narratives Bahng examines imagines alternative futures that envision the multiple possibilities that exist beyond capital’s reach. Whether presenting new spatial futures of the US-Mexico borderlands or inventing forms of kinship in Singapore in order to survive in an economy designed for the few, the varied texts Bahng analyzes illuminate how the futurity of speculative finance is experienced by those who find themselves mired in it. At the same time these displaced, undocumented, unbanked, and disavowed characters imagine alternative visions of the future that offer ways to bring forth new political economies, social structures, and subjectivities that exceed the framework of capitalism.
We live in a society that has little tolerance for suffering. Suffering is not only unpleasant. Profound, innocent suffering can upend our sense of identity. Yet, we push suffering people to the periphery to avoid an uncomfortable truth: We are all subject to suffering. In a time when Christian churches suffer the loss of authority, influence, and membership, Patterson challenges the idea that we need such power to live on earth as in heaven. Only God can transform suffering into joy. Drawing on her experience with cancer, Patterson claims Christians hold certain responsibilities while we wait for this transformation. Revisiting the story of Job, she confronts the problem of suffering and what it takes to suffer well. This sets the scene for what a fleshy, wounded Jesus Christ calls us to do: use suffering to build compassionate relationships with others who suffer.
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