Based on a detailed analysis of 21,000 pages of primary works as well as numerous biographies, the book presents that author's formulations of the objectives, strategies, and tactics of eight African-American and African activists_Frederick Douglass, Booker T. Washington, Marcus Garvey, W.E.B. Du Bois, Malcolm X, Martin Luther King, Nelson Mandela, and Archbishop Desmond Tutu.

How does Martin Luther King, Jr., understand race philosophically and how did this understanding lead him to develop an ontological conception of racist police violence? In this important new work, Mark Christian Thompson attempts to answer these questions, examining ontology in Martin Luther King, Jr.'s philosophy. Specifically, the book reads King through 1920s German academic debates between Martin Heidegger, Rudolf Bultmann, Hans Jonas, Carl Schmitt, Eric Voegelin, Hannah Arendt, and others on Being, gnosticism, existentialism, political theology, and sovereignty. It further examines King's dissertation about Tillich, as well other key texts from his speculative writings, sermons, and speeches, positing King's understanding of divine love as a form of Heideggerian ontology articulated in beloved community. Tracking the presence of twentieth-century German philosophy and theology in his thought, the book situates King's ontology conceptually and socially in nonviolent protest. In so doing, The Critique of Nonviolence reads King's "Letter from a Birmingham Jail" (1963) with Walter Benjamin's "Critique of Violence" (1921) to reveal the depth of King's political-theological critique of police violence as the illegitimate appropriation of the racialized state of exception. As Thompson argues, it is in part through its appropriation of German philosophy and theology that King's ontology condemns the perpetual American state of racial exception that permits unlimited police violence against Black lives.

In modernity, the word love is one of the most commonly misused and abused in our language. Devoid of order, misconceptions about love run rampant, steeped as we are in narcissism, secular humanism, relativism, and hedonism. Separated from God, society tragically propagates a notion of love that is, in truth, the antithesis of authentic love. Now more than ever we need Archbishop Fulton J. Sheen's wisdom, wit, and logic to refute these errors. In our sightless, irrational, and deeply polarized world, his prescient words elucidate the most divisive issues of our time. Mindful that we are all children of God, Archbishop Sheen decries anti-Semitism, racism, and sexism. He also explains what real tolerance means and why anti-hate campaigns don't work. The Greatest Commandment is a timely reprint of Archbishop Sheen's two seminal books Love One Another

A senior corporate executive, an entrepreneur, and a high-ranking CEO offer insight on leadership, business success, and the secret to effective organizations in this discussion of the interaction between entrepreneurs, corporations, and communities. It addresses the key themes facing businesses everywhere: leadership and decision-making at the turn of the century, organizational change, and a renewed awareness of the importance of community and the spirit. Presenting a model of a united front of all three approaches to business when the strengths of each are combined, this book offers practical considerations and encourages shifts in perception.

No group of American minority voters shifted allegiance more dramatically in the 1930s than Black Americans did. Up until the New Deal era, Blacks had shown their traditional loyalty to the party of Lincoln by voting overwhelmingly the Republican ticket. By the end of F.D. Roosevelt’s first administration, however, they tremendously voted the Democratic ticket. The decades long, wholesale attachment of Blacks to the party of Lincoln, with its laudable efforts to support Blacks (Emancipation Proclamation and Reconstruction) was understandable and inevitable enough. The anomaly was the massive shift by Blacks to the Democratic Party, traditionally identified with its long list of constant anti-Black and premeditated opposition to Black liberation: opposition to emancipation and Reconstruction, and with an ongoing record of all forms of racial discrimination, segregation, disfranchisement, exclusion, white primaries, and white supremacy. The transformation of the Black vote from solidly Republican to solidly Democratic did not happen instantaneously, but rather it developed over decades of maturing as a result of the amalgamated efforts of Presidents and Black leaders. The move of Black voters toward the Democratic Party was part of a nationwide trend that had occurred with the creation of the Roosevelt Coalition of1936. This national shift would make the Democrats the majority party for the next several decades including a very decisive margin of Black voters in the balance of power.

The history of the black struggle for civil rights and political and economic equality in America is tied to the strategies, agendas, and styles of black leaders. Marable examines different models of black leadership and the figures who embody them: integration (Booker T. Washington, Harold Washington), nationalist separatism (Louis Farrakhan), and democratic transformation (W.E.B. Du Bois).

In her lifetime, African American composer Margaret Bonds was classical music's most intrepid social-justice activist. Furthermore, her Montgomery Variations (1964) and setting of W.E.B. Du Bois's iconic Civil Rights Credo (1965-67) were the musical summits of her activism. These works fell into obscurity after Bonds's death, but were recovered and published in 2020. Since widely performed, they are finally gaining a recognition long denied. This incisive book situates The Montgomery Variations and Credo in their political and biographical contexts, providing an interdisciplinary exploration that brings notables including Harry Burleigh, W.E.B. and Shirley Graham Du Bois, Martin Luther King, Jr., Abbie Mitchell, Ned Rorem, and – especially – Langston Hughes into the works' collective ambit. The resulting brief, but instructive, appraisal introduces readers to two masterworks whose recovery is a modern musical milestone – and reveals their message to be one that, though born in the mid-twentieth century, speaks directly to our own time.