Through in-depth interviews with individuals from black-white multiracial families, and insightful sociological analysis, Heather M. Dalmage examines the challenges faced by people living in such families and explores how their experiences demonstrate the need for rethinking race in America. She examines the lived reality of race in the ways multiracial family members construct and describe their own identities and sense of community and politics. Their lack of language to describe their multiracial existence, along with their experience of coping with racial ambiguity and with institutional demands to conform to a racially divided, racist system is the central theme of Tripping on the Color Line.

The unheard history of how race and racism are constructed from sound and maintained through the listening ear. Race is a visual phenomenon, the ability to see “difference.” At least that is what conventional wisdom has lead us to believe. Yet, The Sonic Color Line argues that American ideologies of white supremacy are just as dependent on what we hear—voices, musical taste, volume—as they are on skin color or hair texture. Reinforcing compelling new ideas about the relationship between race and sound with meticulous historical research, Jennifer Lynn Stoever helps us to better understand how sound and listening not only register the racial politics of our world, but actively produce them. Through analysis of the historical traces of sounds of African American performers, Stoever reveals a host of racialized aural representations operating at the level of the unseen—the sonic color line—and exposes the racialized listening practices she figures as “the listening ear.” Using an innovative multimedia archive spanning 100 years of American history (1845-1945) and several artistic genres—the slave narrative, opera, the novel, so-called “dialect stories,” folk and blues, early sound cinema, and radio drama—The Sonic Color Line explores how black thinkers conceived the cultural politics of listening at work during slavery, Reconstruction, and Jim Crow. By amplifying Harriet Jacobs, Frederick Douglass, Elizabeth Taylor Greenfield, Charles Chesnutt, The Fisk Jubilee Singers, Ann Petry, W.E.B. Du Bois, and Lena Horne as agents and theorists of sound, Stoever provides a new perspective on key canonical works in African American literary history. In the process, she radically revises the established historiography of sound studies. The Sonic Color Line sounds out how Americans have created, heard, and resisted “race,” so that we may hear our contemporary world differently.

Inspired by true events, this gorgeous, haunting novel intertwines the lives of two Black female artists more than a century apart, both outsiders in Italy. It was the middle of the nineteenth century when Lafanu Brown audaciously decided to become an artist. In the wake of the American Civil War, life was especially tough for Black women, but she didn’t let that stop her. The daughter of a Native American woman and an African-Haitian man, Lafanu had the rare opportunity to study, travel, and follow her dreams, thanks to her indomitable spirit, but not without facing intolerance and violence. Now, in 1887, living in Rome as one of the city’s most established painters, she is ready to tell her fiancé about her difficult life, which began in a poor family forty years earlier. In 2019, an Italian art curator of Somali origin is desperately trying to bring to Europe her younger cousin, who is only sixteen and has already tried to reach Italy on a long, treacherous journey. While organizing an art exhibition that will combine the paintings of Lafanu Brown with the artworks of young migrants, the curator becomes more and more obsessed with the life and secrets of the nineteenth-century painter. Weaving together these two vibrant voices, Igiaba Scego has crafted a powerful exploration of what it means to be “other,” to be a woman, and particularly a Black woman, in a foreign country, yesterday and today.

"Rather than simply engaging in a triumphalist narrative of overcoming where both disability and disablement are shunned alike, Disabilities of the Color Line argues that Black authors and activists have consistently avowed disability as a part of Black social life in varied and complex ways. Sometimes their affirmation of disability serves to capture how their bodies, minds, and health have been and are made vulnerable to harm and impairment by the state and society. Sometimes their assertion of disability symbolizes a sense of commonality and community that comes not only from a recognition of the shared subjection of blackness and disability but also from a willingness to imagine and create a world distinct from the dominant social order. Through the work of David Walker, Henry Box Brown, William and Ellen Craft, Charles Chesnutt, James Weldon Johnson, and Mamie Till-Mobley, Disabilities of the Color Line examines how Black writer-activists have engaged in an aesthetics of redress: modes of resistance that show how Black communities have rigorously acknowledged disability as a response to forms of racial injury and in the pursuit of racial and disability justice"--

"Although it is commonly known that college students and other activists, as well as politicians, actively participated in the fight for and against civil rights in the middle decades of the twentieth century, historical accounts have not adequately focused on the roles that the nation's college presidents played in the debates concerning racism. Focusing on the period between 1948 and 1968, The Campus Color Line sheds light on the important place of college presidents in the struggle for racial parity. College presidents, during a time of violence and unrest, initiated and shaped racial policies and practices inside and outside of the educational sphere. The Campus Color Line illuminates how the legacy of academic leaders' actions continues to influence the unfinished struggle for Black freedom and racial equity in education and beyond."--

Richard Alba argues that the social cleavages that separate Americans into distinct, unequal ethno-racial groups could narrow dramatically in the coming decades. During the mid-twentieth century, the dominant position of the United States in the postwar world economy led to a rapid expansion of education and labor opportunities. As a result of their newfound access to training and jobs, many ethnic and religious outsiders, among them Jews and Italians, finally gained full acceptance as members of the mainstream. Alba proposes that this large-scale assimilation of white ethnics was a result of Ònon-zero-sum mobility,Ó which he defines as the social ascent of members of disadvantaged groups that can take place without affecting the life chances of those who are already members of the established majority. Alba shows that non-zero-sum mobility could play out positively in the future as the baby-boom generation retires, opening up the higher rungs of the labor market. Because of the changing demography of the country, many fewer whites will be coming of age than will be retiring. Hence, the opportunity exists for members of other groups to move up. However, Alba cautions, this demographic shift will only benefit disadvantaged American minorities if they are provided with access to education and training. In Blurring the Color Line, Alba explores a future in which socially mobile minorities could blur stark boundaries and gain much more control over the social expression of racial differences.

In The New Color Line, authors Paul Craig Roberts and Lawrence M. Stratton boldly challenge the affirmative action policies that have governed America for the past thirty years. The authors show that equality under the law has given way to legal privileges based on race and gender. Liberal society is being lost along with the presumption of goodwill that is the basis of democracy. The New Color Line offers an explanation for these ironic outcomes: judicial and regulatory edicts have taken the place of statutory law accountable to the people, and coercion has replaced persuasion. This happened because elites regarded democracy as the problem, not the solution.

A “provocative and richly insightful new book” (The New York Times Book Review) that gives us a shrewd and penetrating analysis of the complex relationship between the first black president and his African-American constituency. Renowned for his insightful, common-sense critiques of racial politics, Randall Kennedy now tackles such hot-button issues as the nature of racial opposition to Obama; whether Obama has a singular responsibility to African Americans; the differences in Obama’s presentation of himself to blacks and to whites; the challenges posed by the dream of a post-racial society; the increasing irrelevance of a certain kind of racial politics and its consequences; the complex symbolism of Obama’s achievement and his own obfuscations and evasions regarding racial justice. Eschewing the critical excesses of both the left and the right, Kennedy offers an incisive view of Obama’s triumphs and travails, his strengths and weaknesses, as they pertain to the troubled history of race in America.

The Color Line provides a concise history of the role of race and ethnicity in the US, from the early colonial period to the present, to reveal the public policies and private actions that have enabled racial subordination and the actors who have fought against it. Focusing on Native Americans, African Americans, Asian Americans, and Latino Americans, it explores how racial subordination developed in the region, how it has been resisted and opposed, and how it has been sustained through independence, the abolition of slavery, the civil rights movement, and subsequent reforms. The text also considers the position of European immigrants to the US, interrogates relevant moral issues, and identifies persistent problems of public policy, arguing that all four centuries of racial subordination are relevant to understanding contemporary America and some of its most urgent issues. This book will be of interest to students and scholars of American history, the history of race and ethnicity, and other related courses in the humanities and social sciences.

“Heartbreaking and uplifting… a searing book about race and prejudice in America… brims with insights that only someone who has lived on both sides of the racial divide could gain.”—Cleveland Plain Dealer “A triumph of storytelling as well as a triumph of spirit.”—Alex Kotlowitz, award-winning author of There Are No Children Here As a child in 1950s segregated Virginia, Gregory Howard Williams grew up believing he was white. But when the family business failed and his parents’ marriage fell apart, Williams discovered that his dark-skinned father, who had been passing as Italian-American, was half black. The family split up, and Greg, his younger brother, and their father moved to Muncie, Indiana, where the young boys learned the truth about their heritage. Overnight, Greg Williams became black. In this extraordinary and powerful memoir, Williams recounts his remarkable journey along the color line and illuminates the contrasts between the black and white worlds: one of privilege, opportunity and comfort, the other of deprivation, repression, and struggle. He tells of the hostility and prejudice he encountered all too often, from both blacks and whites, and the surprising moments of encouragement and acceptance he found from each. Life on the Color Line is a uniquely important book. It is a wonderfully inspiring testament of purpose, perseverance, and human triumph. Winner of the Los Angeles Times Book Prize