The story of black Chicago is so rich that few know it all. It began long before the city itself. "The first white man here was a black man," Potowatami natives reportedly said about Jean Baptiste Point DuSable, the brown-skinned man recognized as Chicago's first non-Indian settler. It's all here: from the site of DuSable's cabin--now smack-dab in the middle of Chicago's Magnificent Mile--to images of famous and infamous residents like boxers Jack Johnson, Muhammad Ali, and Joe Louis. Here are leaders and cultural touchstones like Jesse Binga's bank, Robert S. Abbott's Chicago Defender, legendary filmmaker Oscar Micheaux, Ida B. Wells, the Eighth Regiment, Jesse Jackson, Oprah, and much more . . . including a guy named Obama. Here is the black Chicago family album, of folks who made and never made the headlines, and pictures and stories of kinship and fellowship of African Americans leaving the violent, racist South and "goin' to Chicago" to find their piece of the American Dream. Chicago has been called the "Second City," but black Chicago is second to none.

Black Chicagoans were at the centre of a national movement in the 1940s and '50s, when African Americans across the country first started to see themselves as part of a single culture. Green argues that this period engendered a unique cultural and commercial consciousness, fostering ideas of racial identity that remain influential.

Winner of the Frederick Jackson Turner Award Winner of the George Perkins Marsh Prize Winner of the John Brinckerhoff Jackson Book Prize “A major work of history that brings together African-American history and environmental studies in exciting ways.” —Davarian L. Baldwin, Journal of Interdisciplinary History Between 1915 and 1940, hundreds of thousands of African Americans left the rural South to begin new lives in the urban North. In Chicago, the black population quintupled to more than 275,000. Most historians map the integration of southern and northern black culture by looking at labor, politics, and popular culture. An award-winning environmental historian, Brian McCammack charts a different course, considering instead how black Chicagoans forged material and imaginative connections to nature. The first major history to frame the Great Migration as an environmental experience, Landscapes of Hope takes us to Chicago’s parks and beaches as well as to the youth camps, vacation resorts, farms, and forests of the rural Midwest. Situated at the intersection of race and place in American history, it traces the contours of a black environmental consciousness that runs throughout the African American experience. “Uncovers the untold history of African Americans’ migration to Chicago as they constructed both material and immaterial connections to nature.” —Teona Williams, Black Perspectives “A beautifully written, smart, painstakingly researched account that adds nuance to the growing field of African American environmental history.” —Colin Fisher, American Historical Review “If in the South nature was associated with labor, for the inhabitants of the crowded tenements in Chicago, nature increasingly became a source of leisure.” —Reinier de Graaf, New York Review of Books

As early-twentieth-century Chicago swelled with an influx of at least 250,000 new black urban migrants, the city became a center of consumer capitalism, flourishing with professional sports, beauty shops, film production companies, recording studios, and other black cultural and communal institutions. Davarian Baldwin argues that this mass consumer marketplace generated a vibrant intellectual life and planted seeds of political dissent against the dehumanizing effects of white capitalism. Pushing the traditional boundaries of the Harlem Renaissance to new frontiers, Baldwin identifies a fresh model of urban culture rich with politics, ingenuity, and entrepreneurship. Baldwin explores an abundant archive of cultural formations where an array of white observers, black cultural producers, critics, activists, reformers, and black migrant consumers converged in what he terms a "marketplace intellectual life." Here the thoughts and lives of Madam C. J. Walker, Oscar Micheaux, Andrew "Rube" Foster, Elder Lucy Smith, Jack Johnson, and Thomas Dorsey emerge as individual expressions of a much wider spectrum of black political and intellectual possibilities. By placing consumer-based amusements alongside the more formal arenas of church and academe, Baldwin suggests important new directions for both the historical study and the constructive future of ideas and politics in American life.

Following on the heels of the Harlem Renaissance, the Chicago Renaissance was a resonant flourishing of African American arts, literature, theater, music, and intellectualism, from 1930 to 1955. Anne Meis Knupfer's The Chicago Black Renaissance and Women's Activism demonstrates the complexity of black women's many vital contributions to this unique cultural flowering. The book examines various groups of black female activists, including writers and actresses, social workers, artists, school teachers, and women's club members to document the impact of social class, gender, nativity, educational attainment, and professional affiliations on their activism. Together, these women worked to sponsor black history and literature, to protest overcrowded schools, and to act as a force for improved South Side housing and employment opportunities. Knupfer also reveals the crucial role these women played in founding and sustaining black cultural institutions, such as the first African American art museum in the country; the first African American library in Chicago; and various African American literary journals and newspapers. As a point of contrast, Knupfer also examines the overlooked activism of working-class and poor women in the Ida B. Wells and Altgeld Gardens housing projects.

In the spring of 1915, Chicagoans elected the city’s first black alderman, Oscar De Priest. In a city where African Americans made up less than five percent of the voting population, and in a nation that dismissed and denied black political participation, De Priest’s victory was astonishing. It did not, however, surprise the unruly group of black activists who had been working for several decades to win representation on the city council. Freedom’s Ballot is the history of three generations of African American activists—the ministers, professionals, labor leaders, clubwomen, and entrepreneurs—who transformed twentieth-century urban politics. This is a complex and important story of how black political power was institutionalized in Chicago in the half-century following the Civil War. Margaret Garb explores the social and political fabric of Chicago, revealing how the physical makeup of the city was shaped by both political corruption and racial empowerment—in ways that can still be seen and felt today.

On Melbenan Drive just west of Atlanta, sunlight falls onto a long row of well-kept lawns. Two dozen homes line the street; behind them wooden decks and living-room windows open onto vast woodland properties. Residents returning from their jobs steer SUVs into long driveways and emerge from their automobiles. They walk to the front doors of their houses past sculptured bushes and flowers in bloom. For most people, this cozy image of suburbia does not immediately evoke images of African Americans. But as this pioneering work demonstrates, the suburbs have provided a home to black residents in increasing numbers for the past hundred years—in the last two decades alone, the numbers have nearly doubled to just under twelve million. Places of Their Own begins a hundred years ago, painting an austere portrait of the conditions that early black residents found in isolated, poor suburbs. Andrew Wiese insists, however, that they moved there by choice, withstanding racism and poverty through efforts to shape the landscape to their own needs. Turning then to the 1950s, Wiese illuminates key differences between black suburbanization in the North and South. He considers how African Americans in the South bargained for separate areas where they could develop their own neighborhoods, while many of their northern counterparts transgressed racial boundaries, settling in historically white communities. Ultimately, Wiese explores how the civil rights movement emboldened black families to purchase homes in the suburbs with increased vigor, and how the passage of civil rights legislation helped pave the way for today's black middle class. Tracing the precise contours of black migration to the suburbs over the course of the whole last century and across the entire United States, Places of Their Own will be a foundational book for anyone interested in the African American experience or the role of race and class in the making of America's suburbs. Winner of the 2005 John G. Cawelti Book Award from the American Culture Association. Winner of the 2005 Award for Best Book in North American Urban History from the Urban History Association.

Beginning in the 1930s, Black Chicago experienced a cultural renaissance that lasted into the 1950s and rivaled the cultural outpouring in the Harlem Renaissance of the 1920s. The contributors to this volume analyze this prolific period of African American creativity in music, performance art, social science scholarship, and visual and literary artistic expression. Unlike Harlem, Chicago was an urban industrial center that gave a unique working class and internationalist perspective to the cultural work being done in Chicago. This collection's various essays discuss the forces that distinguished the Black Chicago Renaissance from the Harlem Renaissance and placed the development of black culture in a national and international context. Among the topics discussed in this volume are Chicago writers Gwendolyn Brooks and Richard Wright, The Chicago Defender and Tivoli Theater, African American music and visual arts, and the American Negro Exposition of 1940. Contributors are Hilary Mac Austin, David T. Bailey, Murry N. DePillars, Samuel A. Floyd Jr., Erik S. Gellman, Jeffrey Helgeson, Darlene Clark Hine, John McCluskey Jr., Christopher Robert Reed, Elizabeth Schlabach, and Clovis E. Semmes.

Grossman’s rich, detailed analysis of black migration to Chicago during World War I and its aftermath brilliantly captures the cultural meaning of the movement.

A major document of African American participation in the struggles of the Depression, The Negro in Illinois was produced by a special division of the Illinois Writers' Project, one of President Roosevelt's Works Progress Administration programs. The Federal Writers' Project helped to sustain "New Negro" artists during the 1930s and gave them a newfound social consciousness that is reflected in their writing. Headed by Harlem Renaissance poet Arna Bontemps and white proletarian writer Jack Conroy, The Negro in Illinois employed major black writers living in Chicago during the 1930s, including Richard Wright, Margaret Walker, Katherine Dunham, Fenton Johnson, Frank Yerby, and Richard Durham. The authors chronicled the African American experience in Illinois from the beginnings of slavery to Lincoln's emancipation and the Great Migration, with individual chapters discussing various aspects of public and domestic life, recreation, politics, religion, literature, and performing arts. After the project was canceled in 1942, most of the writings went unpublished for more than half a century--until now. Working closely with archivist Michael Flug to select and organize the book, editor Brian Dolinar compiled The Negro in Illinois from papers at the Vivian G. Harsh Collection of Afro-American History and Literature at the Carter G. Woodson Library in Chicago. Dolinar provides an informative introduction and epilogue which explain the origins of the project and place it in the context of the Black Chicago Renaissance. Making available an invaluable perspective on African American life, this volume represents a publication of immense historical and literary importance.