In Elusive Equality, Jeffrey L. Littlejohn and Charles H. Ford place Norfolk, Virginia, at the center of the South's school desegregation debates, tracing the crucial role that Norfolk's African Americans played in efforts to equalize and integrate the city's schools. The authors relate how local activists participated in the historic teacher-pay-parity cases of the 1930s and 1940s, how they fought against the school closures and "Massive Resistance" of the 1950s, and how they challenged continuing patterns of discrimination by insisting on crosstown busing in the 1970s and 1980s. Despite the advances made by local activists, however, Littlejohn and Ford argue that the vaunted "urban advantage" supposedly now enjoyed by Norfolk's public schools is not easy to reconcile with the city's continuing gaps and disparities in relation to race and class. In analyzing the history of struggles over school integration in Norfolk, the authors scrutinize the stories told by participants, including premature declarations of victory that laud particular achievements while ignoring the larger context in which they take place. Their research confirms that Norfolk was a harbinger of national trends in educational policy and civil rights. Drawing on recently released archival materials, oral interviews, and the rich newspaper coverage in the Journal and Guide, Virginian-Pilot, and Ledger-Dispatch, Littlejohn and Ford present a comprehensive, multidimensional, and unsentimental analysis of the century-long effort to gain educational equality. A historical study with contemporary implications, their book offers a balanced view based on a thorough, sober look at where Norfolk's school district has been and where it is going.

"The average woman concerned about pregnancy spends approximately thirty years trying to prevent conception. She largely does so alone using prescription birth control, a phenomenon often taken for granted as natural and beneficial in the United States. In Just Get on the Pill, Littlejohn draws on interviews to show how young women come to take responsibility for prescription birth control as the "woman's method" and relinquish control of external condoms as the "man's method." She uncovers how gendered compulsory birth control-in which women are held accountable for preventing and resolving pregnancies in gender-constrained ways-encroaches on women's reproductive autonomy and erodes their ability to protect themselves from disease. In tracing the gendered politics of pregnancy prevention, Littlejohn argues that the gender division of labor in birth control is not natural. It is unjust"--

'Insanitary City will be an invaluable addition to historical knowledge in this area and seems destined to become the standard reference work ... I believe it will be a classic of its genre.'

In 1934, the year Calvin Littlejohn came to Fort Worth, the city was a sleepy little burg. This was the Jim Crow era, when mainstream newspapers wouldn't publish pictures of black citizens and white photographers wouldn't take pictures in black schools. In Fort Worth, Littlejohn began what would become a lifelong career of documenting the black community. And there would be nothing remotely related to the white culture's depictions of Amos 'n' Andy or black kids grinning over a slice of watermelon in Littlejohn's portrayal of his adopted home and the people he came to appreciate and love. Littlejohn's natural aptitude for drawing had been honed by correspondence courses in graphic design and a stint in a photo shop where he learned about the camera, lighting, and the use of shadows. When Littlejohn was assigned to be the official photographer at I. M. Terrell--the city's only black high school at the time--his professional career was launched. Unlike many segregated cities, where blacks lived only in one section, blacks in Cowtown lived in every quadrant of the city. There was a thriving black business district, with hotels, restaurants, a movie theater, a bank, and a major hospital, pharmacy, and nursing school. And of course, there were the schools and churches. All would eventually be seen through Littlejohn's lens. Although he never set out to be the documentarian of Fort Worth's black community, he did what he set out to do: to capture the best of a community, focusing on its good times. This book features more than 150 shots Littlejohn captured over the course of his career.

After being abandoned by his animal friends, Little John Crow must come to terms with what it means to be part of a community when you are a vulture. "Little John Crow is full of energy and color." —People Magazine "A new children’s book by [Ziggy Marley] and his wife, Orly, aims to educate youth on the threats the birds face and the vital ecological role they play." —Audubon Magazine Little John Crow is a young vulture growing up in Bull Bay on the edge of the Blue Mountains in Jamaica, where he lives with his loving parents Sharil and Rusil Crow. He spends his days playing with his friends, a motley group that includes a snake, George; Missy, the French pigeon; Chiqueen, a chicken hawk; Hummy, the hummingbird; and the Three Little Birds. One morning while the group of friends is relaxing by a cool river, they start chatting about life, their parents' jobs, and what they want to be when they grow up. As the conversation continues, Little John Crow realizes he has no idea what his parents do for work. Little John Crow and his friends set out to solve this mystery, but what they discover shocks them—Little John Crow and his vulture parents are scary scavengers! Most of his friends are disgusted when they learn this, and before Little John Crow can even adjust to this news, a terrible tragedy strikes. Feeling lonely and isolated from his friends, the young vulture flees Bull Bay. After traveling for days, a tired and hungry Little John Crow is fortunate to be found by a group of vultures. With their support and encouragement, the young vulture learns to embrace his future, and after months away, he returns to Bull Bay just in the nick of time to save his home from ruin. Filled with humor and memorable characters, Little John Crow reminds us of the importance of accepting our differences and remembering that life offers a place and purpose for all of us.

"This Center Point Large Print edition is published in the year 2019 by arrangment with St. Martin's Press."--Title page verso.

Greenley is accused of having published malicious and wicked libels against the character of Mr. Littlejohn in the New-York Tribune.

"In this booklet we explore different formats and papers as well as a variety of methods and media. Our aims are both to encourage those lacking in confidence and, for the more experianced, to find challenging and innovative ways of extending their vocabulary."--Page 1.