LONGLISTED FOR THE EDINBURGH FESTIVAL FIRST BOOK AWARDIn a hard-boiled city of crooks, grifts and rackets lurk a pair of toughs: Box and _____. They're the kind of men capable of extracting apologies and reparations, of teaching you a chilling lesson. They seldom think twice, and ask very few questions.Until one night over the poker table, they encounter a pulp writer with wild ideas and an unscrupulous private detective, leading them into what is either a classic mystery, a senseless maze of corpses, or an inextricable fever dream . . .Drunk on cinematic and literary influence, Muscle is a slice of noir fiction in collapse, a ceaselessly imaginative story of violence, boredom and madness.

William Monroe Trotter (1872– 1934), though still virtually unknown to the wider public, was an unlikely American hero. With the stylistic verve of a newspaperman and the unwavering fearlessness of an emancipator, he galvanized black working- class citizens to wield their political power despite the violent racism of post- Reconstruction America. For more than thirty years, the Harvard-educated Trotter edited and published the Guardian, a weekly Boston newspaper that was read across the nation. Defining himself against the gradualist politics of Booker T. Washington and the elitism of W. E. B. Du Bois, Trotter advocated for a radical vision of black liberation that prefigured leaders such as Marcus Garvey, Malcolm X, and Martin Luther King Jr. Synthesizing years of archival research, historian Kerri Greenidge renders the drama of turn- of- the- century America and reclaims Trotter as a seminal figure, whose prophetic, yet ultimately tragic, life offers a link between the vision of Frederick Douglass and black radicalism in the modern era.

Most of the narratives packaged for New Orleans's many tourists cultivate a desire for black culture—jazz, cuisine, dance—while simultaneously targeting black people and their communities as sources and sites of political, social, and natural disaster. In this timely book, the Americanist and New Orleans native Lynnell L. Thomas delves into the relationship between tourism, cultural production, and racial politics. She carefully interprets the racial narratives embedded in tourism websites, travel guides, business periodicals, and newspapers; the thoughts of tour guides and owners; and the stories told on bus and walking tours as they were conducted both before and after Katrina. She describes how, with varying degrees of success, African American tour guides, tour owners, and tourism industry officials have used their own black heritage tours and tourism-focused businesses to challenge exclusionary tourist representations. Taking readers from the Lower Ninth Ward to the White House, Thomas highlights the ways that popular culture and public policy converge to create a mythology of racial harmony that masks a long history of racial inequality and structural inequity.

Other historians have tended to treat black urban life mainly in relation to the ghetto experience, but in Black Milwaukee, Joe William Trotter Jr. offers a new perspective that complements yet also goes well beyond that approach. The blacks in Black Milwaukee were not only ghetto dwellers; they were also industrial workers. The process by which they achieved this status is the subject of Trotter's ground-breaking study. This second edition features a new preface and acknowledgments, an essay on African American urban history since 1985, a prologue on the antebellum and Civil War roots of Milwaukee's black community, and an epilogue on the post-World War II years and the impact of deindustrialization, all by the author. Brief essays by four of Trotter's colleagues--William P. Jones, Earl Lewis, Alison Isenberg, and Kimberly L. Phillips--assess the impact of the original Black Milwaukee on the study of African American urban history over the past twenty years.

"An eloquent and essential correction to contemporary discussions of the American working class."—The Nation From the ongoing issues of poverty, health, housing, and employment to the recent upsurge of lethal police-community relations, the black working class stands at the center of perceptions of social and racial conflict today. Journalists and public policy analysts often discuss the black poor as “consumers” rather than “producers,” as “takers” rather than “givers,” and as “liabilities” instead of “assets.” In his engrossing history, Workers on Arrival, Joe William Trotter, Jr., refutes these perceptions by charting the black working class’s vast contributions to the making of America. Covering the last four hundred years since Africans were first brought to Virginia in 1619, Trotter traces the complicated journey of black workers from the transatlantic slave trade to the demise of the industrial order in the twenty-first century. At the center of this compelling, fast-paced narrative are the actual experiences of these African American men and women. A dynamic and vital history of remarkable contributions despite repeated setbacks, Workers on Arrival expands our understanding of America’s economic and industrial growth, its cities, ideas, and institutions, and the real challenges confronting black urban communities today.

"Presents more than 130 recipes that make Charlie Trotter's food accessible to home cooks, with new photography and an updated design accompanying approachable recipes for Trotter's award-winning cuisine."--Provided by publisher.

Argues that another form of development — by the poor and for the poor — is not only possible but necessary.

The Hogwash School for Wizards is the most famous school in the wizarding world and Barry Trotter is its most famous pupil. It's been that way ever since J.G. Rollins' Barry Trotter and the Philosopher's Sconebroke publishing records worldwide. But now disaster looms. The movie Barry Trotter and the Inevitable Attempt to Cash-Inhas gone into final production and the marketing machine at Wagner Bros. is going into overdrive. Hogwash is going to be submerged under a tide of souvenir-crazed Muddle fans, torn apart and sold on eBuy, stone by mossy stone. The movie must be stopped. Barry, Ermine Cringer and Lon Measly must find a way to defeat the most powerful force of grasping sleazoids the world has ever known: Hollywood.

The bull thought I was dead. He looked up from the shattered mess he made of my bow and arrows and stared directly into my eyes. His empty gaze pierced through me while he prepared to mount his final charge. I knew my life was over. This was the day I was going to die. Only a miracle could change that. As it turned out, that was exactly what happened. This is a true story. Not your typical outdoor exploits set in the wilderness pitting good guys against bad but rather a metamorphosis that would question virtually everything I knew about my life,--who I was, what I needed to change, and how I was supposed to live. It's a story about redemption and working out my salvation, a story about how I seemingly had it all--a successful string of businesses, a long-term marriage, four loving children, and more friends than I could count. The only part of the equation missing was me,--my true purpose for being on this planet and a deeper relationship with God.