In Black on the Block, Mary Pattillo—a Newsweek Woman of the 21st Century—uses the historic rise, alarming fall, and equally dramatic renewal of Chicago’s North Kenwood–Oakland neighborhood to explore the politics of race and class in contemporary urban America. There was a time when North Kenwood–Oakland was plagued by gangs, drugs, violence, and the font of poverty from which they sprang. But in the late 1980s, activists rose up to tackle the social problems that had plagued the area for decades. Black on the Block tells the remarkable story of how these residents laid the groundwork for a revitalized and self-consciously black neighborhood that continues to flourish today. But theirs is not a tale of easy consensus and political unity, and here Pattillo teases out the divergent class interests that have come to define black communities like North Kenwood–Oakland. She explores the often heated battles between haves and have-nots, home owners and apartment dwellers, and newcomers and old-timers as they clash over the social implications of gentrification. Along the way, Pattillo highlights the conflicted but crucial role that middle-class blacks play in transforming such districts as they negotiate between established centers of white economic and political power and the needs of their less fortunate black neighbors. “A century from now, when today's sociologists and journalists are dust and their books are too, those who want to understand what the hell happened to Chicago will be finding the answer in this one.”—Chicago Reader “To see how diversity creates strange and sometimes awkward bedfellows . . . turn to Mary Pattillo's Black on the Block.”—Boston Globe

She helps people conquer their demons. But she has a few of her own... In the halls of the psychiatric ward, Dr. Zoe Goldman is a resident in training, dedicated to helping troubled patients. However, she has plenty of baggage of her own. When Zoe becomes obsessed with questions about her own mother's death, the truth remains tauntingly out of reach, locked away within her nightmares of an uncontrollable fire. And as her adoptive mother loses her memory to dementia, the time to find the answers is running out. As Zoe digs deeper, she realizes that the danger is not just in her dreams but is now close at hand. And she has no choice but to face what terrifies her the most. Because what she can't remember just might kill her. Little Black Lies is about madness and memory - and the dangerous, little lies we tell ourselves just to survive.

Examines the vast array of art produced by African Americans in response to the continuing impact of anti-Black violence and how it is used to protest, process, mourn and memorialize those events.

In the decades following World War II, cities across the United States saw an influx of African American families into otherwise homogeneously white areas. This racial transformation of urban neighborhoods led many whites to migrate to the suburbs, producing the phenomenon commonly known as white flight. In Block by Block, Amanda I. Seligman draws on the surprisingly understudied West Side communities of Chicago to shed new light on this story of postwar urban America. Seligman's study reveals that the responses of white West Siders to racial changes occurring in their neighborhoods were both multifaceted and extensive. She shows that, despite rehabilitation efforts, deterioration in these areas began long before the color of their inhabitants changed from white to black. And ultimately, the riots that erupted on Chicago's West Side and across the country in the mid-1960s stemmed not only from the tribulations specific to blacks in urban centers but also from the legacy of accumulated neglect after decades of white occupancy. Seligman's careful and evenhanded account will be essential to understanding that the "flight" of whites to the suburbs was the eventual result of a series of responses to transformations in Chicago's physical and social landscape, occurring one block at a time.

What is cultural about vision--or visual about culture? In this ambitious book, Whitney Davis provides new answers to these difficult and important questions by presenting an original framework for understanding visual culture. Grounded in the theoretical traditions of art history, A General Theory of Visual Culture argues that, in a fully consolidated visual culture, artifacts and pictures have been made to be seen in a certain way; what Davis calls "visuality" is the visual perspective from which certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. In this book, Davis provides a systematic analysis of visuality and describes how it comes into being as a historical form of vision. Expansive in scope, A General Theory of Visual Culture draws on art history, aesthetics, the psychology of perception, the philosophy of reference, and vision science, as well as visual-cultural studies in history, sociology, and anthropology. It provides penetrating new definitions of form, style, and iconography, and draws important and sometimes surprising conclusions (for example, that vision does not always attain to visual culture, and that visual culture is not always wholly visible). The book uses examples from a variety of cultural traditions, from prehistory to the twentieth century, to support a theory designed to apply to all human traditions of making artifacts and pictures--that is, to visual culture as a worldwide phenomenon.

As early as the eighteenth century, white Americans and Europeans believed that people of African descent could not experience nostalgia. As a result, black lives have been predominately narrated through historical scenes of slavery and oppression. This phenomenon created a missing archive of romantic historical memories. Badia Ahad-Legardy mines literature, visual culture, performance, and culinary arts to form an archive of black historical joy for use by the African-descended. Her analysis reveals how contemporary black artists find more than trauma and subjugation within the historical past. Drawing on contemporary African American culture and recent psychological studies, she reveals nostalgia’s capacity to produce positive emotions. Afro-nostalgia emerges as an expression of black romantic recollection that creates and inspires good feelings even within our darkest moments. Original and provocative, Afro-Nostalgia offers black historical pleasure as a remedy to contend with the disillusionment of the present and the traumas of the past.

"Prior to implementation of the Package 118 restoration program in Harpers Ferry National Historical Park, the park's archeological research staff conducted excavations around Park Buildings 5, 7, 16, and 16A. During the summer of 1991, a crew of four people excavated 11 units (typically 5 ft. by 5 ft.) in the backyards and under Park Building 16 where the flooring had been removed. This work gave the archaeologists the opportunity to examine firsthand and to re-evaluate the soil layers and some of the features described in previous reports. Also several additional features were discovered. This new report presents the findings of an interdisciplinary effort covering topics beyond the basic descriptions of soils and artifacts. It provides glimpses into a small piece of the town, crowded with buildings and busy with the everyday activities of families and small businesses such as a bakery/confectionery, saloons, a shoemaker's shop, and a dry goods store. ..."--Management Summary--page xiii.

"This book made me want to step aside, hand over the mic, and listen to Wes. A must-read." --Mariama J. Lockington, author of For Black Girls Like Me Brand-new kicks, ripped denim shorts, Supreme tee-- Wes Henderson has the best style in sixth grade. That--and hanging out with his crew (his best friends since little-kid days) and playing video games--is what he wants to be thinking about at the start of the school year, not the protests his parents are always dragging him to. But when a real estate developer makes an offer to buy Kensington Oaks, the neighborhood Wes has lived his whole life, everything changes. The grownups are supposed to have all the answers, but all they're doing is arguing. Even Wes's best friends are fighting. And some of them may be moving. Wes isn't about to give up the only home he's ever known. Wes has always been good at puzzles, and he knows there has to be a missing piece that will solve this puzzle and save the Oaks. But can he find it . . . before it's too late? Exploring community, gentrification, justice, and friendship, Take Back the Block introduces an irresistible 6th grader and asks what it means to belong--to a place and a movement--and to fight for what you believe in. * "Outstanding."—School Library Journal, Starred Review * “Transformative.”—Kirkus Reviews, Starred Review "Filled with hope, friendship, and grit." --Stacy McAnulty, best-selling author of The Miscalculations of Lightning Girl "Timely and penetrating." --Kelly Starling Lyons, author of Sing a Song: How Lift Every Voice and Sing Inspired Generations "Chrystal Giles's sparkling debut will have you standing up and cheering." --Lisa Yee, award winning author of Millicent Min, Girl Genius "Chrystal Giles really nailed it. I loved this book." --Linda Williams Jackson, award winning author of Midnight Without a Moon "Necessary and inspiring. An empowering read." --Ashley Herring Blake, author of the Stonewall Honor Book Ivy Aberdeen's Letter to the World "Wes will welcome middle grade readers into his delightful circle of friends, his strong and loving family, and his powerful community." --Barbara Dee, author of the ALA Notable Children's Book Maybe He Just Likes You