A horrifying incident from long ago has grisly repercussions that spread across Charleston like a deadly cancer... Then comes the payback: A brutal murder... then another... and another. Homicide cops Nick Janzek and his partner, Delvin Rhett, barely have time to sink their teeth into the first murder, when they're called to the next gruesome crime scene.. And when Janzek finally figures it all out and is about to take down the killer, the killer comes after him... with a vengeance and a very sharp knife. "It's Turner's best, you'll love it!" said one advance reader.

Their ancestors may have been cargo in the slave ships that arrived in Charleston, S.C. Today, the scale has been rebalanced: black longshoremen run the port's cargo operation. They are members of the International Longshoremen's Association, a powerful labor union, and Kenny Riley is the charismatic leader of the Charleston local. Riley combines commitment to the civil rights movement with the practicality to ensure that Charleston remains a principal East Coast port. He emerged on the international stage in 2000, rallying union members worldwide to the defense of "The Charleston Five," longshoremen arrested after a confrontation with police turned violent. This is Riley's story as well as a behind-the-scenes look at organized black labor in a Deep South port.

In Afro-Atlantic Flight Michelle D. Commander traces how post-civil rights Black American artists, intellectuals, and travelers envision literal and figurative flight back to Africa as a means by which to heal the dispossession caused by the slave trade. Through ethnographic, historical, literary, and filmic analyses, Commander shows the ways that cultural producers such as Octavia Butler, Thomas Allen Harris, and Saidiya Hartman engage with speculative thought about slavery, the spiritual realm, and Africa, thereby structuring the imaginary that propels future return flights. She goes on to examine Black Americans’ cultural heritage tourism in and migration to Ghana; Bahia, Brazil; and various sites of slavery in the US South to interrogate the ways that a cadre of actors produces “Africa” and contests master narratives. Compellingly, these material flights do not always satisfy Black Americans’ individualistic desires for homecoming and liberation, leading Commander to focus on the revolutionary possibilities inherent in psychic speculative returns and to argue for the development of a Pan-Africanist stance that works to more effectively address the contemporary resonances of slavery that exist across the Afro-Atlantic.

Fusing South Carolina lowcountry cooking and his own French-influenced technique, Chef Bob Waggoner creates contemporary and sophisticated new Southern haute cuisine at his award-winning Charleston Grill using seasonal, locally sourced ingredients. From Grilled Okra with Maitre d Butter, to Grilled Corn Soup with Pork Cracklings, Smoked Bacon, and Micro Thyme, to Jumbo Lump Blue Crab Galette in a Lime, Pear Tomato, and Avocado Salsa, Waggoner brings home the sophistication and elegance of The Charleston Grill. Praise for Executive Chef Bob Waggoner: Food and Wine's "Reader's Favorite Chef in North America" Award (1999) Featured Chef at the James Beard Foundation Best Hotel Chefs of America Award (1999) 1999 James Beard Rising Stars of the 21st Century Saveur magazine's "100 Favorite Things" (2000) James Beard Foundation Best Chef, Southeast Nominee (2003) "The Charleston Grill feels like a splurge. There's a sybaritic message in its shiny green marble floor and dark wood paneling, in the interior courtyard overgrown with lush Southern flora, and above all in the deeply serious 800-bottle wine list with 28 Champagnes. Anyone missing the point would discover it very quickly when reading the menu, which is designed to ravish . . . " -The New York Times "This is where you go for Charleston's most assured and accomplished food. Presented in a swank dining room decked out with colorful folk art, Chef Bob Waggoner's cuisine summaries just how far the city's restaurant scene has come in the past 20 years." -Wine Spectator

Reading Sankofa, Daughters of the Dust, & Eve's Bayou as Histories

Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.

The Seventies is must reading for anyone who wants to revisit that glam decade and the contributions it made to our culture. The contributors take you on a fascinating journey that looks at the Black Panthers, Jonestown, glam rock, black action films and gay male subcultures as well as including queer rereadings of cultural phenomena, examinations of clothing and seventies bodies, and an essay on the meaning of sound in the seventies.

During the 20th-century, Spaniards and African-Americans shared significant cultural memories forged by the profound impact that various artistic and historical events had on each other. Addressing three crucial periods (the Harlem Renaissance and Jazz Age, the Spanish Civil War, and Franco's dictatorship), this collection of essays explores the transnational bond and the intercultural exchanges between these two communities, using race as a fundamental critical category. The study of travelogues, memoirs, documentaries, interviews, press coverage, comics, literary works, music, and performances by iconic figures such as Josephine Baker, Langston Hughes, and Ramón Gómez de la Serna, as well as the experiences of ordinary individuals such as African American nurse Salaria Kea, invite an examination of the ambiguities and paradoxes that underlie this relationship: among them, the questionable and, at times, surprising racial representations of blacks in Spanish avant-garde texts and in the press during the years of Franco’s dictatorship; African Americans very unique view of the Spanish Civil War in light of their racial identity; and the oscillation between fascination and anxiety when these two communities look at each other.

This groundbreaking study explores the visual representations of Black culture across the globe throughout the twentieth century and into the twenty-first. The African diaspora—a direct result of the transatlantic slave trade and Western colonialism—has generated a wide array of artistic achievements, from blues and reggae to the paintings of the pioneering American artist Henry Ossawa Tanner and the music videos of Solange. This study concentrates on how these works, often created during times of major social upheaval and transformation, use Black culture both as a subject and as context. From musings on “the souls of black folk” in late-nineteenth-century art to questions of racial and cultural identities in performance, media, and computer-assisted arts in the twenty-first century, this book examines the philosophical and social forces that have shaped Black presence in modern and contemporary visual culture. Renowned art historian Richard J. Powell presents Black art drawn from across the African diaspora, with examples from the Americas, the Caribbean, and Europe. Black Art features artworks executed in a broad range of media, including film, photography, performance art, conceptual art, advertising, and sculpture. Now updated and expanded, this new edition helps to better understand how the first two decades of the twenty-first century have been a transformative moment in which previous assumptions about race and identity have been irrevocably altered, with art providing a useful lens through which to think about these compelling issues.

The expansion of the Black American middle class and the unprecedented increase in the number of Black immigrants since the 1960s have transformed the cultural landscape of New York. In The New Noir, Orly Clerge explores the richly complex worlds of an extraordinary generation of Black middle class adults who have migrated from different corners of the African diaspora to suburbia. The Black middle class today consists of diverse groups whose ongoing cultural, political, and material ties to the American South and Global South shape their cultural interactions at work, in their suburban neighborhoods, and at their kitchen tables. Clerge compellingly analyzes the making of a new multinational Black middle class and how they create a spectrum of Black identities that help them carve out places of their own in a changing 21st-century global city. Paying particular attention to the largest Black ethnic groups in the country, Black Americans, Jamaicans, and Haitians, Clerge’s ethnography draws on over 80 interviews with residents to examine the overlooked places where New York’s middle class resides in Queens and Long Island. This book reveals that region and nationality shape how the Black middle class negotiates the everyday politics of race and class.