In the late nineteenth century, if ethnologists in the United States recognized African American culture, they often perceived it as something to be overcome and left behind. At the same time, they were committed to salvaging “disappearing” Native American culture by curating objects, narrating practices, and recording languages. In Anthropology and the Racial Politics of Culture, Lee D. Baker examines theories of race and culture developed by American anthropologists during the late nineteenth century and early twentieth. He investigates the role that ethnologists played in creating a racial politics of culture in which Indians had a culture worthy of preservation and exhibition while African Americans did not. Baker argues that the concept of culture developed by ethnologists to understand American Indian languages and customs in the nineteenth century formed the basis of the anthropological concept of race eventually used to confront “the Negro problem” in the twentieth century. As he explores the implications of anthropology’s different approaches to African Americans and Native Americans, and the field’s different but overlapping theories of race and culture, Baker delves into the careers of prominent anthropologists and ethnologists, including James Mooney Jr., Frederic W. Putnam, Daniel G. Brinton, and Franz Boas. His analysis takes into account not only scientific societies, journals, museums, and universities, but also the development of sociology in the United States, African American and Native American activists and intellectuals, philanthropy, the media, and government entities from the Bureau of Indian Affairs to the Supreme Court. In Anthropology and the Racial Politics of Culture, Baker tells how anthropology has both responded to and helped shape ideas about race and culture in the United States, and how its ideas have been appropriated (and misappropriated) to wildly different ends.

'Every voice raised against racism chips away at its power. We can't afford to stay silent. This book is an attempt to speak' The book that sparked a national conversation. Exploring everything from eradicated black history to the inextricable link between class and race, Why I'm No Longer Talking to White People About Race is the essential handbook for anyone who wants to understand race relations in Britain today. THE NO.1 SUNDAY TIMES BESTSELLER WINNER OF THE BRITISH BOOK AWARDS NON-FICTION NARRATIVE BOOK OF THE YEAR 2018 FOYLES NON-FICTION BOOK OF THE YEAR BLACKWELL'S NON-FICTION BOOK OF THE YEAR WINNER OF THE JHALAK PRIZE LONGLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NON-FICTION LONGLISTED FOR THE ORWELL PRIZE SHORTLISTED FOR A BOOKS ARE MY BAG READERS AWARD

The sheer diversity of the Asian American populace makes them an ambiguous racial category. Indeed, the 2010 U.S. Census lists twenty-four Asian-ethnic groups, lumping together under one heading people with dramatically different historical backgrounds and cultures. In Racial Ambiguity in Asian American Culture, Jennifer Ann Ho shines a light on the hybrid and indeterminate aspects of race, revealing ambiguity to be paramount to a more nuanced understanding both of race and of what it means to be Asian American. Exploring a variety of subjects and cultural artifacts, Ho reveals how Asian American subjects evince a deep racial ambiguity that unmoors the concept of race from any fixed or finite understanding. For example, the book examines the racial ambiguity of Japanese American nisei Yoshiko Nakamura deLeon, who during World War II underwent an abrupt transition from being an enemy alien to an assimilating American, via the Mixed Marriage Policy of 1942. It looks at the blogs of Korean, Taiwanese, and Vietnamese Americans who were adopted as children by white American families and have conflicted feelings about their “honorary white” status. And it discusses Tiger Woods, the most famous mixed-race Asian American, whose description of himself as “Cablinasian”—reflecting his background as Black, Asian, Caucasian, and Native American—perfectly captures the ambiguity of racial classifications. Race is an abstraction that we treat as concrete, a construct that reflects only our desires, fears, and anxieties. Jennifer Ho demonstrates in Racial Ambiguity in Asian American Culture that seeing race as ambiguous puts us one step closer to a potential antidote to racism.

The canon of postwar American fiction has changed over the past few decades to include far more writers of color. It would appear that we are making progress—recovering marginalized voices and including those who were for far too long ignored. However, is this celebratory narrative borne out in the data? Richard Jean So draws on big data, literary history, and close readings to offer an unprecedented analysis of racial inequality in American publishing that reveals the persistence of an extreme bias toward white authors. In fact, a defining feature of the publishing industry is its vast whiteness, which has denied nonwhite authors, especially black writers, the coveted resources of publishing, reviews, prizes, and sales, with profound effects on the language, form, and content of the postwar novel. Rather than seeing the postwar period as the era of multiculturalism, So argues that we should understand it as the invention of a new form of racial inequality—one that continues to shape the arts and literature today. Interweaving data analysis of large-scale patterns with a consideration of Toni Morrison’s career as an editor at Random House and readings of individual works by Octavia Butler, Henry Dumas, Amy Tan, and others, So develops a form of criticism that brings together qualitative and quantitative approaches to the study of literature. A vital and provocative work for American literary studies, critical race studies, and the digital humanities, Redlining Culture shows the importance of data and computational methods for understanding and challenging racial inequality.

The works of African American authors and artists are too often interpreted through the lens of authenticity. They are scrutinized for “positive” or “negative” representations of Black people and Black culture or are assumed to communicate some truth about Black identity or the “Black experience.” However, many contemporary Black artists are creating works that cannot be slotted into such categories. Their art resists interpretation in terms of conventional racial discourse; instead, they embrace opacity, uncertainty, and illegibility. John Brooks examines a range of abstractionist, experimental, and genre-defying works by Black writers and artists that challenge how audiences perceive and imagine race. He argues that literature and visual art that exceed the confines of familiar conceptions of Black identity can upend received ideas about race and difference. Considering photography by Roy DeCarava, installation art by Kara Walker, novels by Percival Everett and Paul Beatty, drama by Suzan-Lori Parks, and poetry by Robin Coste Lewis, Brooks pinpoints a shared aesthetic sensibility. In their works, the devices that typically make race feel familiar are instead used to estrange cultural assumptions about race. Brooks contends that when artists confound expectations about racial representation, the resulting disorientation reveals the incoherence of racial ideologies. By showing how contemporary literature and art ask audiences to question what they think they know about race, The Racial Unfamiliar offers a new way to understand African American cultural production.

As the population of older Americans grows, it is becoming more racially and ethnically diverse. Differences in health by racial and ethnic status could be increasingly consequential for health policy and programs. Such differences are not simply a matter of education or ability to pay for health care. For instance, Asian Americans and Hispanics appear to be in better health, on a number of indicators, than White Americans, despite, on average, lower socioeconomic status. The reasons are complex, including possible roles for such factors as selective migration, risk behaviors, exposure to various stressors, patient attitudes, and geographic variation in health care. This volume, produced by a multidisciplinary panel, considers such possible explanations for racial and ethnic health differentials within an integrated framework. It provides a concise summary of available research and lays out a research agenda to address the many uncertainties in current knowledge. It recommends, for instance, looking at health differentials across the life course and deciphering the links between factors presumably producing differentials and biopsychosocial mechanisms that lead to impaired health.

Racial and ethnic disparities in health care are known to reflect access to care and other issues that arise from differing socioeconomic conditions. There is, however, increasing evidence that even after such differences are accounted for, race and ethnicity remain significant predictors of the quality of health care received. In Unequal Treatment, a panel of experts documents this evidence and explores how persons of color experience the health care environment. The book examines how disparities in treatment may arise in health care systems and looks at aspects of the clinical encounter that may contribute to such disparities. Patients' and providers' attitudes, expectations, and behavior are analyzed. How to intervene? Unequal Treatment offers recommendations for improvements in medical care financing, allocation of care, availability of language translation, community-based care, and other arenas. The committee highlights the potential of cross-cultural education to improve provider-patient communication and offers a detailed look at how to integrate cross-cultural learning within the health professions. The book concludes with recommendations for data collection and research initiatives. Unequal Treatment will be vitally important to health care policymakers, administrators, providers, educators, and students as well as advocates for people of color.

Race in the Making provides a new understanding of how people conceptualize social categories and shows why this knowledge is so readily recruited to create and maintain systems of unequal power. Hirschfeld argues that knowledge of race is not derived from observations of physical difference nor does it develop in the same way as knowledge of other social categories. Instead, his central claim is that racial thinking is the product of a special-purpose cognitive competence for understanding and representing human kinds. The book also challenges the conventional wisdom that race is purely a social construction by demonstrating that a common set of abstract principles underlies all systems of racial thinking, whatever other historical and cultural specificities may be associated with them. Starting from the commonplace observation that race is a category of both power and the mind, Race in the Making directly tackles this issue. Through a sustained exploration of continuity and change in the child's notion of race and across historical variations in the race concept, Hirschfeld shows that a singular commonsense theory about human kinds constrains the way racial thinking changes, whether in historical time or during childhood. After surveying the literature on the development of a cultural psychology of race, Hirschfeld presents original studies that examine children's (and occasionally adults') representations of race. He sketches how a jointly cultural and psychological approach to race might proceed, showing how this approach yields new insights into the emergence and elaboration of racial thinking.