Led by bestselling author Tracy Price-Thompson, Other People's Skin is a collection of four novellas by four leading African American women writers that acknowledges, examines, and conquers the skin and hair topic among African American women. In Other People's Skin, Tracy Price-Thompson and TaRessa Stovall, along with fellow authors Elizabeth Atkins, and Desiree Cooper, take on one of the most controversial topics within the African American community: the self-hatred caused by intraracial prejudice and the ongoing obsession with skin tone and hair texture. It begins with TaRessa Stovall's "My People, My People," in which a successful advertising executive acquires firsthand knowledge of prejudice when her clients insist on using light-skinned rather than dark-skinned models. Next comes Tracy Price-Thompson's award-winning story "Other People's Skin," a tale set in 1970s Louisiana, where a dark-skinned young woman must come to terms with the bigotry of her light-skinned family. "New Birth," by Desiree Cooper reveals the intense roles that money, class, and skin color play in the intraracial relationship between Catherine, a wealthy, light-skinned lawyer, and Lettie, her dark-skinned house cleaner. Finally, Elizabeth Atkin's "Take It Off" tells the story of a biracial girl who hides her coarse, braided hair from her friends at a mixed-race university in Detroit. Other People's Skin is the most innovative and varied anthology of sisterhood and unity to date. Each novella entertains, challenges, and, most important, offers healing to the reader—no matter what her race, skin tone, or state of mind.

Led by bestselling author Tracy Price-Thompson, Other People's Skin is a collection of four novellas by four leading African American women writers that acknowledges, examines, and conquers the skin and hair topic among African American women. In Other People's Skin, Tracy Price-Thompson and TaRessa Stovall, along with fellow authors Elizabeth Atkins, and Desiree Cooper, take on one of the most controversial topics within the African American community: the self-hatred caused by intraracial prejudice and the ongoing obsession with skin tone and hair texture. It begins with TaRessa Stovall's "My People, My People," in which a successful advertising executive acquires firsthand knowledge of prejudice when her clients insist on using light-skinned rather than dark-skinned models. Next comes Tracy Price-Thompson's award-winning story "Other People's Skin," a tale set in 1970s Louisiana, where a dark-skinned young woman must come to terms with the bigotry of her light-skinned family. "New Birth," by Desiree Cooper reveals the intense roles that money, class, and skin color play in the intraracial relationship between Catherine, a wealthy, light-skinned lawyer, and Lettie, her dark-skinned house cleaner. Finally, Elizabeth Atkin's "Take It Off" tells the story of a biracial girl who hides her coarse, braided hair from her friends at a mixed-race university in Detroit. Other People's Skin is the most innovative and varied anthology of sisterhood and unity to date. Each novella entertains, challenges, and, most important, offers healing to the reader—no matter what her race, skin tone, or state of mind.

Weaving together personal stories, history, and analysis, Same Family, Different Colors explores the myriad ways skin-color politics affect family dynamics in the United States. Colorism and color bias—the preference for or presumed superiority of people based on the color of their skin—is a pervasive and damaging but rarely openly discussed phenomenon. In this unprecedented book, Lori L. Tharps explores the issue in African American, Latino, Asian American, and mixed-race families and communities by weaving together personal stories, history, and analysis. The result is a compelling portrait of the myriad ways skin-color politics affect family dynamics in the United States. Tharps, the mother of three mixed-race children with three distinct skin colors, uses her own family as a starting point to investigate how skin-color difference is dealt with. Her journey takes her across the country and into the lives of dozens of diverse individuals, all of whom have grappled with skin-color politics and speak candidly about experiences that sometimes scarred them. From a Latina woman who was told she couldn’t be in her best friend’s wedding photos because her dark skin would “spoil” the pictures, to a light-skinned African American man who spent his entire childhood “trying to be Black,” Tharps illuminates the complex and multifaceted ways that colorism affects our self-esteem and shapes our lives and relationships. Along with intimate and revealing stories, Tharps adds a historical overview and a contemporary cultural critique to contextualize how various communities and individuals navigate skin-color politics. Groundbreaking and urgent, Same Family, Different Colors is a solution-seeking journey to the heart of identity politics, so that this more subtle “cousin to racism,” in the author’s words, will be exposed and confronted.

The New York Times best-selling book exploring the counterproductive reactions white people have when their assumptions about race are challenged, and how these reactions maintain racial inequality. In this “vital, necessary, and beautiful book” (Michael Eric Dyson), antiracist educator Robin DiAngelo deftly illuminates the phenomenon of white fragility and “allows us to understand racism as a practice not restricted to ‘bad people’ (Claudia Rankine). Referring to the defensive moves that white people make when challenged racially, white fragility is characterized by emotions such as anger, fear, and guilt, and by behaviors including argumentation and silence. These behaviors, in turn, function to reinstate white racial equilibrium and prevent any meaningful cross-racial dialogue. In this in-depth exploration, DiAngelo examines how white fragility develops, how it protects racial inequality, and what we can do to engage more constructively.

An updated edition of the award-winning analysis of the role of race in the classroom features a new author introduction and framing essays by Herbert Kohl and Charles Payne, in an account that shares ideas about how teachers can function as "cultural transmitters" in contemporary schools and communicate more effectively to overcome race-related academic challenges. Original.

Mesoamerican communities past and present are characterized by their strong inclination toward color and their expert use of the natural environment to create dyes and paints. In pre-Hispanic times, skin was among the preferred surfaces on which to apply coloring materials. Archaeological research and historical and iconographic evidence show that, in Mesoamerica, the human body—alive or dead—received various treatments and procedures for coloring it. Painting the Skin brings together exciting research on painted skins in Mesoamerica. Chapters explore the materiality, uses, and cultural meanings of the colors applied to a multitude of skins, including bodies, codices made of hide and vegetal paper, and even building “skins.” Contributors offer physicochemical analysis and compare compositions, manufactures, and attached meanings of pigments and colorants across various social and symbolic contexts and registers. They also compare these Mesoamerican colors with those used in other ancient cultures from both the Old and New Worlds. This cross-cultural perspective reveals crucial similarities and differences in the way cultures have painted on skins of all types. Examining color in Mesoamerica broadens understandings of Native religious systems and world views. Tracing the path of color use and meaning from pre-Columbian times to the present allows for the study of the preparation, meanings, social uses, and thousand-year origins of the coloring materials used by today’s Indigenous peoples. Contributors: María Isabel Álvarez Icaza Longoria Christine Andraud Bruno Giovanni Brunetti David Buti Davide Domenici Élodie Dupey García Tatiana Falcón Álvarez Anne Genachte-Le Bail Fabrice Goubard Aymeric Histace Patricia Horcajada Campos Stephen Houston Olivia Kindl Bertrand Lavédrine Linda R. Manzanilla Naim Anne Michelin Costanza Miliani Virgina E. Miller Sélim Natahi Fabien Pottier Patricia Quintana Owen Franco D. Rossi Antonio Sgamellotti Vera Tiesler Aurélie Tournié María Luisa Vázquez de Ágredos Pascual Cristina Vidal Lorenzo

RECOMMENDED BY DOLLY PARTON IN PEOPLE MAGAZINE! A NEW YORK TIMES BESTSELLER A USA TODAY BESTSELLER A LOS ANGELES TIMES BESTSELLER The bestselling historical fiction novel from Kim Michele Richardson, this is a novel following Cussy Mary, a packhorse librarian and her quest to bring books to the Appalachian community she loves, perfect for readers of William Kent Kreuger and Lisa Wingate. The perfect addition to your next book club! The hardscrabble folks of Troublesome Creek have to scrap for everything—everything except books, that is. Thanks to Roosevelt's Kentucky Pack Horse Library Project, Troublesome's got its very own traveling librarian, Cussy Mary Carter. Cussy's not only a book woman, however, she's also the last of her kind, her skin a shade of blue unlike most anyone else. Not everyone is keen on Cussy's family or the Library Project, and a Blue is often blamed for any whiff of trouble. If Cussy wants to bring the joy of books to the hill folks, she's going to have to confront prejudice as old as the Appalachias and suspicion as deep as the holler. Inspired by the true blue-skinned people of Kentucky and the brave and dedicated Kentucky Pack Horse library service of the 1930s, The Book Woman of Troublesome Creek is a story of raw courage, fierce strength, and one woman's belief that books can carry us anywhere—even back home. Look for The Book Woman's Daughter, the new novel from Kim Michele Richardson, out now! Other Bestselling Historical Fiction from Sourcebooks Landmark: The Mystery of Mrs. Christie by Marie Benedict The Engineer's Wife by Tracey Enerson Wood Sold on a Monday by Kristina McMorris

It takes a graveyard to raise a child. Nobody Owens, known as Bod, is a normal boy. He would be completely normal if he didn't live in a graveyard, being raised by ghosts, with a guardian who belongs to neither the world of the living nor the dead. There are adventures in the graveyard for a boy—an ancient Indigo Man, a gateway to the abandoned city of ghouls, the strange and terrible Sleer. But if Bod leaves the graveyard, he will be in danger from the man Jack—who has already killed Bod's family.

'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

Black Skin, White Masks is a classic, devastating account of the dehumanising effects of colonisation experienced by black subjects living in a white world. First published in English in 1967, this book provides an unsurpassed study of the psychology of racism using scientific analysis and poetic grace.Franz Fanon identifies a devastating pathology at the heart of Western culture, a denial of difference, that persists to this day. A major influence on civil rights, anti-colonial, and black consciousness movements around the world, his writings speak to all who continue the struggle for political and cultural liberation.With an introduction by Paul Gilroy, author of There Ain't No Black in the Union Jack.