Bearing aversion & dubiety for society, Mike Mose braved the culture of Detroit, Michigan in the 1990s. Even though the city became ravaged with poverty & violence, the calamity taking place within his home created his ultimate austerity. With a womanizing father who was imprisoned due to illicit business dealings, his mother was forced to raise f ive boys alone. She overcame extreme f inancial hardships & was able to move her family to the suburbs of Southfield, Michigan. The move guaranteed her children an opportunity to attain the spectrum of grandeur that she desired for them. In Mike Moses new environment, he was introduced to a class of African Americans hed never encountered before. While in the suburbs, he realized that he didnt quite agree with the belief systems that the kids there had developed about race & lower class blacks. Thus, he became entangled in an identity crisis; one where he struggled with his city roots and his new middle class beginning. Mikes closest friends in Detroit were involved in underworld criminal activity, running with gangs such as CS8 & the Motown Legends. However, he strived to fit in with a new crew in Southfield called PBC. PBC was a selective group of young black men in the area, who wanted Mike to forget about his friends in Detroit. As a young, light skinned African-American man, Mike was a constant victim of intra-racism, victimized by dark skinned blacks. He also witnessed dark skinned blacks fall victim to intra-racism as well. The intra-racism that he encountered was compelling, and brings to light this ugly secret that has been hidden in the African- American community. Throughout the book, Mike Mose remains stuck in the middle of two worlds, representing the unique position that many African-Americans, who move to the suburbs from inner cities, are placed in.

In this acclaimed memoir, Bliss Broyard, daughter of the literary critic Anatole Broyard, examines her father's choice to hide his racial identity, and the impact of this revelation on her own life. Two months before he died, renowned literary critic Anatole Broyard called his grown son and daughter to his side to impart a secret he had kept all their lives and most of his own: he was black. Born in the French Quarter in 1920, Anatole had begun to conceal his racial identity after his family moved to Brooklyn and his parents resorted to "passing" in order to get work. As he grew older and entered the ranks of the New York literary elite, he maintained the favßade. Now his daughter Bliss tries to make sense of his choices. Seeking out unknown relatives in New York, Los Angeles, and New Orleans, Bliss uncovers the 250-year history of her family in America and chronicles her own evolution from privilged WASP to a woman of mixed-race ancestry.

Challenges narrow perceptions of Blackness as both an identity and lived reality to understand the diversity of what it means to be Black in the US and around the world What exactly is Blackness and what does it mean to be Black? Is Blackness a matter of biology or consciousness? Who determines who is Black and who is not? Who’s Black, who’s not, and who cares? In the United States, a Black person has come to be defined as any person with any known Black ancestry. Statutorily referred to as “the rule of hypodescent,” this definition of Blackness is more popularly known as the “one-drop rule,” meaning that a person with any trace of Black ancestry, however small or (in)visible, cannot be considered White. A method of social order that began almost immediately after the arrival of enslaved Africans in America, by 1910 it was the law in almost all southern states. At a time when the one-drop rule functioned to protect and preserve White racial purity, Blackness was both a matter of biology and the law. One was either Black or White. Period. Has the social and political landscape changed one hundred years later? One Drop explores the extent to which historical definitions of race continue to shape contemporary racial identities and lived experiences of racial difference. Featuring the perspectives of 60 contributors representing 25 countries and combining candid narratives with striking portraiture, this book provides living testimony to the diversity of Blackness. Although contributors use varying terms to self-identify, they all see themselves as part of the larger racial, cultural, and social group generally referred to as Black. They have all had their identity called into question simply because they do not fit neatly into the stereotypical “Black box”—dark skin, “kinky” hair, broad nose, full lips, etc. Most have been asked “What are you?” or the more politically correct “Where are you from?” throughout their lives. It is through contributors’ lived experiences with and lived imaginings of Black identity that we can visualize multiple possibilities for Blackness.

Jennifer Adams, best friend to Jacque Pierce and Sally Morgan, spicy, out spoken, a little crazy and human...or so she thought. Jen has just found out that human DNA is not the only thing that resides in her veins, she happens to share that little pesky werewolf gene, although it isn't more than just a drop. Now that she and her friends are living in Romania with Fane's pack, she is also oh so conveniently stuck with the object of her affection, the fur ball Decebel. Drawn to each other by something they don't understand Jen finds herself frustrated by the lack of mating signs between her and said fur ball. Not only is she dealing with that not so un-frustrating problem, she now has been informed that because of that little drop of werewolf blood in her she is now required to attended a multi-pack gathering for un-mated wolves. This type of gathering hasn't taken place in over a century but with a shortage of females among the werewolf population the males are getting worried they won't ever find their true mates. Meanwhile, Decebel struggles with the emotions he is feeling towards Jen. He tries to keep his distance but there is just something about the mouthy blonde that keeps him coming back for more of her verbal abuse that he just can't seem to get enough of...go figure.

Annotation. This analysis of the nearly 300 appealed court cases that decided the "race" of individual Americans may be the most thorough study of the legal history of the U.S. color line yet published.

A bold and original retelling of the story of race in America Why has a nation founded upon precepts of freedom and universal humanity continually produced, through its preoccupation with race, a divided and constrained populace? This question is the starting point for Scott Malcomson's riveting and deeply researched account, which amplifies history with memoir and reportage. From the beginning, Malcomson shows, a nation obsessed with invention began to create a new idea of race, investing it with unprecedented moral and social meaning. A succession of visionaries and opportunists, self-promoters and would-be reformers carried on the process, helping to define "black," "white," and "Indian" in opposition to one another, and in service to the aspirations and anxieties of each era. But the people who had to live within those definitions found them constraining. They sought to escape the limits of race imposed by escaping from other races or by controlling, confining, eliminating, or absorbing them, in a sad, absurd parade of events. Such efforts have never truly succeeded, yet their legacy haunts us, as we unhappily re-enact the drama of separatism in our schools, workplaces, and communities. By not only recounting the shared American tragicomedy of race but helping us to own, even to embrace it, this important book offers us a way at last to move beyond it.

Challenges narrow perceptions of Blackness as both an identity and lived reality to understand the diversity of what it means to be Black in the US and around the world What exactly is Blackness and what does it mean to be Black? Is Blackness a matter of biology or consciousness? Who determines who is Black and who is not? Who’s Black, who’s not, and who cares? In the United States, a Black person has come to be defined as any person with any known Black ancestry. Statutorily referred to as “the rule of hypodescent,” this definition of Blackness is more popularly known as the “one-drop rule,” meaning that a person with any trace of Black ancestry, however small or (in)visible, cannot be considered White. A method of social order that began almost immediately after the arrival of enslaved Africans in America, by 1910 it was the law in almost all southern states. At a time when the one-drop rule functioned to protect and preserve White racial purity, Blackness was both a matter of biology and the law. One was either Black or White. Period. Has the social and political landscape changed one hundred years later? One Drop explores the extent to which historical definitions of race continue to shape contemporary racial identities and lived experiences of racial difference. Featuring the perspectives of 60 contributors representing 25 countries and combining candid narratives with striking portraiture, this book provides living testimony to the diversity of Blackness. Although contributors use varying terms to self-identify, they all see themselves as part of the larger racial, cultural, and social group generally referred to as Black. They have all had their identity called into question simply because they do not fit neatly into the stereotypical “Black box”—dark skin, “kinky” hair, broad nose, full lips, etc. Most have been asked “What are you?” or the more politically correct “Where are you from?” throughout their lives. It is through contributors’ lived experiences with and lived imaginings of Black identity that we can visualize multiple possibilities for Blackness.

The stunning and provocative coming-of-age memoir about Sarah Valentine's childhood as a white girl in the suburbs of Pittsburgh, and her discovery that her father was a black man. At the age of 27, Sarah Valentine discovered that she was not, in fact, the white girl she had always believed herself to be. She learned the truth of her paternity: that her father was a black man. And she learned the truth about her own identity: mixed race. And so Sarah began the difficult and absorbing journey of changing her identity from white to black. In this memoir, Sarah details the story of the discovery of her identity, how she overcame depression to come to terms with this identity, and, perhaps most importantly, asks: why? Her entire family and community had conspired to maintain her white identity. The supreme discomfort her white family and community felt about addressing issues of race–her race–is a microcosm of race relationships in America. A black woman who lived her formative years identifying as white, Sarah's story is a kind of Rachel Dolezal in reverse, though her "passing" was less intentional than conspiracy. This memoir is an examination of the cost of being black in America, and how one woman threw off the racial identity she'd grown up with, in order to embrace a new one.

When Abraham Lincoln met Harriet Beecher Stowe in 1863, he reportedly greeted her as "the little woman who wrote the book that started this Great War." To this day, Uncle Tom's Cabin serves as a touchstone for the war. Yet few works have been selected to represent the Civil War's literature, even though historians have filled libraries with books on the war itself. This volume helps teachers address the following questions: What is the relation of canonical works to the multitude of occasional texts that were penned in response to the Civil War, and how can students understand them together? Should an approach to war literature reflect the chronology of historical events or focus instead on thematic clusters, generic forms, and theoretical concerns? How do we introduce students to archival materials that sometimes support, at other times resist, the close reading practices in which they have been trained? Twenty-three essays cover such topics as visiting historical sites to teach the literature, using digital materials, teaching with anthologies; soldiers' dime novels, Confederate women's diaries, songs, speeches; the conflicted theme of treason, and the double-edged theme of brotherhood; how battlefield photographs synthesize fact and fiction; and the roles in the war played by women, by slaves, and by African American troops. A section of the volume provides a wealth of resources for teachers.