A lush and haunting novel of a city steeped in decadent pleasures . . . and of a man, proud and defiant, caught in a web of murder and betrayal. It is 1833. In the midst of Mardi Gras, Benjamin January, a Creole physician and music teacher, is playing piano at the Salle d'Orleans when the evenings festivities are interrupted—by murder. Ravishing Angelique Crozat, a notorious octoroon who travels in the city's finest company, has been strangled to death. With the authorities reluctant to become involved, Ben begins his own inquiry, which will take him through the seamy haunts of riverboatmen and into the huts of voodoo-worshipping slaves. But soon the eyes of suspicion turn toward Ben—for, black as the slave who fathered him, this free man of color is still the perfect scapegoat. . . . Praise for A Free Man of Color “A smashing debut. Rich and exciting with both substance and spice.”—Star Tribune, Minneapolis “A sparkling gem.”—King Features Syndicate “An astonishing tour de force.”—Margaret Maron “Superb.”—Drood Review of Mystery “A darned good murder mystery.”—USA Today

John Guare’s new play is astonishing, raucous and panoramic. A Free Man of Color is set in boisterous New Orleans prior to the historic Louisiana Purchase. Before law and order took hold, and class, racial and political lines were drawn, New Orleans was a carnival of beautiful women, flowing wine and pleasure for the taking. At the center of this Dionysian world is the mulatto Jacques Cornet, who commands men, seduces women and preens like a peacock. But, it is 1801 and the map of New Orleans is about to be redrawn. The Louisiana Purchase brings American rule and racial segregation to the chaotic, colorful world of Jacques Cornet and all that he represents, turning the tables on freedom and liberty.

The Color Of Love reveals the power of racial hierarchies to infiltrate our most intimate relationships. Delving far deeper than previous sociologists have into the black Brazilian experience, Elizabeth Hordge-Freeman examines the relationship between racialization and the emotional life of a family. Based on interviews and a sixteen-month ethnography of ten working-class Brazilian families, this provocative work sheds light on how families simultaneously resist and reproduce racial hierarchies. Examining race and gender, Hordge-Freeman illustrates the privileges of whiteness by revealing how those with “blacker” features often experience material and emotional hardships. From parental ties, to sibling interactions, to extended family and romantic relationships, the chapters chart new territory by revealing the connection between proximity to whiteness and the distribution of affection within families. Hordge-Freeman also explores how black Brazilian families, particularly mothers, rely on diverse strategies that reproduce, negotiate, and resist racism. She frames efforts to modify racial features as sometimes reflecting internalized racism, and at other times as responding to material and emotional considerations. Contextualizing their strategies within broader narratives of the African diaspora, she examines how Salvador’s inhabitants perceive the history of the slave trade itself in a city that is referred to as the “blackest” in Brazil. She argues that racial hierarchies may orchestrate family relationships in ways that reflect and reproduce racial inequality, but black Brazilian families actively negotiate these hierarchies to assert their citizenship and humanity.

On the eve of the Civil War, most people of color in the United States toiled in bondage. Yet nearly half a million of these individuals, including over 250,000 in the South, were free. In Beyond Slavery's Shadow, Warren Eugene Milteer Jr. draws from a wide array of sources to demonstrate that from the colonial period through the Civil War, the growing influence of white supremacy and proslavery extremism created serious challenges for free persons categorized as "negroes," "mulattoes," "mustees," "Indians," or simply "free people of color" in the South. Segregation, exclusion, disfranchisement, and discriminatory punishment were ingrained in their collective experiences. Nevertheless, in the face of attempts to deny them the most basic privileges and rights, free people of color defended their families and established organizations and businesses. These people were both privileged and victimized, both celebrated and despised, in a region characterized by social inconsistency. Milteer's analysis of the way wealth, gender, and occupation intersected with ideas promoting white supremacy and discrimination reveals a wide range of social interactions and life outcomes for the South's free people of color and helps to explain societal contradictions that continue to appear in the modern United States.

Thomas Day (1801-61), a free man of color from Milton, North Carolina, became the most successful cabinetmaker in North Carolina--white or black--during a time when most blacks were enslaved and free blacks were restricted in their movements and activities. His surviving furniture and architectural woodwork still represent the best of nineteenth-century craftsmanship and aesthetics. In this lavishly illustrated book, Patricia Phillips Marshall and Jo Ramsay Leimenstoll show how Day plotted a carefully charted course for success in antebellum southern society. Beginning in the 1820s, he produced fine furniture for leading white citizens and in the 1840s and '50s diversified his offerings to produce newel posts, stair brackets, and distinctive mantels for many of the same clients. As demand for his services increased, the technological improvements Day incorporated into his shop contributed to the complexity of his designs. Day's style, characterized by undulating shapes, fluid lines, and spiraling forms, melded his own unique motifs with popular design forms, resulting in a distinctive interpretation readily identified to his shop. The photographs in the book document furniture in public and private collections and architectural woodwork from private homes not previously associated with Day. The book provides information on more than 160 pieces of furniture and architectural woodwork that Day produced for 80 structures between 1835 and 1861. Through in-depth analysis and generous illustrations, including over 240 photographs (20 in full color) and architectural photography by Tim Buchman, Marshall and Leimenstoll provide a comprehensive perspective on and a new understanding of the powerful sense of aesthetics and design that mark Day's legacy.

A Free Man of Color and His Hotel weaves the story of a uniquely successful black businessman into the burgeoning post–Civil War political struggle that pitted the federal government against the states’ desire to remain autonomous. Born in Washington, D.C., James Wormley worked as a hacker in his father’s livery stable there and as a steward on Mississippi River steamboats before establishing his own catering and boardinghouse businesses. During a period of limited opportunity for African Americans, he built and operated D.C.’s luxurious Wormley Hotel at a time when most financial and governmental business was conducted in hotels. Not only did a number of notable diplomats and politicians live at the hotel, but because of its location in the city’s commercial and political center, Wormley also hosted Washington’s movers and shakers. Wormley’s rise, however, occurred as three landmark decisions by the Supreme Court effectively dismantled Reconstruction and led to the Plessy v. Ferguson decision that legalized segregation. This cautionary tale illustrates how key Supreme Court decisions hindered other African Americans’ potential successes after Reconstruction. By examining the issue of states’ rights in terms of one man’s against-the-odds success, Carol Gelderman shows how these same issues are still relevant in a postsegregation United States.

Renowned photographer and author Michael Freeman provides a thorough look at the essential ways of dealing with color that will help photographers create striking color digital photographs. Using helpful tips and exercises, he covers everything from capture and calibration to workflow management and output.

Silva provides a case study of the life and ideas of the self-styled Dom Oba II d'Africa, Prince of the People and "street character."

"Come join me as I take you back to Charleston, South Carolina, to my father's forge in the early 1800's. Sit with me on the woodpile as he tells a tale of faith, hope, or love." In this extraordinary collection, Charlotte Jefferies and her father Price, a former slave, introduce us to twelve best loved Bible tales, from Genesis to Daniel, and reveal their significance in the lives of African Americans--and indeed of all oppressed peoples. When Charlotte wants to understand the cruel injustices of her time, she turns to her father. Does the powerful slaveholder, Mr. Sam Riley, who seems to own all that surrounds them, also own the sun and moon? she wonders. Price's answer is to tell the story of Creation. How can God allow an evil like slavery to exist? she asks. Price responds by telling the story of the Hebrews' Exodus -- and shows Charlotte that someday their people, too, will be free. With exquisite clarity, Patricia and Fredrick McKissack and James Ransome -- a Newbery Honor winner and all Coretta Scott King Award winners -- brilliantly illuminate the parallels between the stories of the Jews and African-American history. Let My People Go is a triumphant celebration of both the human spirit and the enduring power of story as a source of strength. Our hope is that this book will be like a lighthouse that can guide young readers through good times and bad....The ideas that these ancient stories hold are not for one people, at one time, in one place. They are for all of us, for all times, everywhere. --from the Authors' Note to Let My People Go

From the New York Times bestselling author of Deacon King Kong and The Good Lord Bird, winner of the National Book Award for Fiction: The modern classic that Oprah.com calls one of the best memoirs of a generation and that launched James McBride's literary career. More than two years on The New York Times bestseller list. As a boy in Brooklyn's Red Hook projects, James McBride knew his mother was different. But when he asked her about it, she'd simply say 'I'm light-skinned.' Later he wondered if he was different too, and asked his mother if he was black or white. 'You're a human being! Educate yourself or you'll be a nobody!' she snapped back. And when James asked about God, she told him 'God is the color of water.' This is the remarkable story of an eccentric and determined woman: a rabbi's daughter, born in Poland and raised in the Deep South who fled to Harlem, married a black preacher, founded a Baptist church and put twelve children through college. A celebration of resilience, faith and forgiveness, The Color of Water is an eloquent exploration of what family really means.