100 books like Black Culture and Black Consciousness

It’s hard to know quite where to begin with this book–there is so much to love.

This book tells the story of the Great Migration of African American people out of the South across the United States to Chicago, New York, California, and beyond; it transforms and fills in a crucial part of American history that every American should know to understand our present day. But for me, what I love most starts with the way Isabel Wilkerson cares for people’s stories. 

Wilkerson tells this decades-long, sweeping, under-told story through individual stories that are so detailed and compelling, so thoroughly contextualized with historical research, that I was completely enmeshed in these people’s lives, their struggles, their loves, and their feelings. I cared. In the years since I read it, stories from the book often come to my mind, teaching and guiding me like the words of a beloved relative. 

When I was growing up, the fabled 1969 Woodstock music festival was a byword for the alternative drop-out culture of hippiedom then at its height.

Even today, people remember it and the town that gave it its name (although it's actually located 40 miles from the site of the festival). What’s perhaps less well known is that Woodstock first became Hippie Central several years before, after Bob Dylan and his manager Albert Grossman moved there, and it continued to attract musicians and artists long afterwards.

This book tells an often shocking tale of excess – drink, drugs, and sexual shenanigans. (And incidentally, Donald Fagen now divides his time between Woodstock and New York.)

Though published in 1941, this book remains, for my money, at least, the most insightful book on white southerners. In an account equally rich in provocative thought and vivid phraseology, Cash explored the roots of the historically fierce masculine individualism, and near-visceral hostility to new ideas—the "savage ideal," he called it—that not only kept the South a hot mess most of the time, but sustained it as "not quite a nation within a nation, but the next thing to it" right up to the eve of American entry in World War II. Cash trembled at the prospect of the powerful, likely irreversible new forces unleashed by this momentous development colliding with the South's historically rigid resistance to change. When the time came, however, the region would show a “capacity for adjustment” that would have astounded its reproving, though still affectionate son, had he not taken his own life just short… show more.

C. Vann Woodward easily ranks as the greatest historian of the American South to date, and his pre-eminence in the field was already established when this volume of his essays first appeared in 1960. Woodward's masterful sense of irony permeates this collection, in which he offers original alternative perspectives on the South's experience both within and apart from the nation's experience. The essays themselves were also marked by a literary grace rarely found in historical writing of any era. Though Flannery O'Connor was hardly given to praising southern writers not named Faulkner, after devouring the collection, she reported to a friend that she had "taken up reading C. Vann Woodward" because "this man knows how to write English."

In this intriguing and highly readable book, Gavin Wright essentially explores both the immediate and long-term economic consequences of slavery for the South. In doing so, he makes a persuasive case that, for the greatest part of its history, much of what passed for a distinctive southern culture and mindset can also be understood as a function of the persistence of its distinctive low-wage regional economy.

I grew up in south-west London, and still live here.

My formative years were spent going to rock gigs in local clubs, pubs, and colleges, when bands like Genesis, Black Sabbath, the Soft Machine, and Pink Floyd were still playing in small venues. Queen’s Brian May went to my school, as did half of the Yardbirds.

This book reflects that era, particularly the amazing goings-on at Eel Pie Island in Twickenham, where gigs were held in a crumbling hotel infested with hippies and other ne’er-do-wells… including me and some of my closest friends.

This is the most fun you’ll ever have reading about music history, guaranteed. Gioia focuses on outsiders, renegades, and people at the margins of society who launched musical innovations that were later adopted – and legitimized – by leaders of mainstream culture.

“So don’t be surprised,” he warns early on, “if a woman’s erotic love song gets turned into a scriptural utterance by a king. That’s how the history of music unfolds, especially for anything innovative or transgressive.”

I especially appreciated how, in examining music’s 4,000-year history, Gioia never fails to highlight contributions by women, which sets his book apart. 

You thought you knew everything there was to know about The Beatles. I thought I did. I was wrong.

Craig Brown somehow manages to tell a very familiar story with details that either you never knew or had forgotten. He isn’t scraping the barrel: the book is full of excellent stories about the Fab Four, and sheds new light on where the band came from and where they ended up. It’s more than 600 pages long, and beautifully written, but a very easy read.

“They say the people could fly. They say that long ago in Africa some of the people knew magic. And they could walk up on the air like climbin on a gate. And they flew like blackbirds over the fields.” These beautiful words and those that follow have remained in my heart from the moment I first discovered this story in Hamilton’s 1985 folktale collection. The inspiring messages of hope, faith, and the innate desire for freedom are powerfully conveyed through Hamilton’s fine storytelling and the Dillons’ elegant art. I love the feeling of triumph as “old and young who were called slaves” join hands, rise in the air, and fly away to freedom.

The Greenwood Encyclopedia of African American Folklore is a superb three-volume introduction to every area of African American Folklore by one of the nation’s leading Black folklorists.

I found it required reading for anyone interested in Black folklore. The entries are detailed and well written. I am frequently recommending this encyclopedia to people who often write to me with questions about African American folklore.