Here are 100 books that Black Power, Jewish Politics fans have personally recommended if you like
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I am a professor who teaches and works in the field of African American History. Because I am both white and Jewish, I’ve been repeatedly asked to give talks about relationships between African Americans and white Jewish Americans, and about what “went wrong” to shatter the “grand alliance” of the civil rights movement embodied by Dr. Martin Luther King, Jr. and Rabbi Abraham Joshua Heschel. I had no answer, but I suspected that none of the stories that we had been told, whether good or bad, were fully true. So I went back to the sources and uncovered a complex and multilayered history. Black and Jewish collaboration was never a given, and underlying tensions and conflicts reflected the broader realities of race and class in the U.S. In the book I explored how these historical and political forces operated, and continue to resonate today.
Not all Jews are white. Again, there are a number of wonderful books by African American Jews that remind us of this fact, and how often we use the word “Jewish” to refer only to Jews of European descent. Azoulay insists on confronting this unthinking racism head-on by reflecting on her experiences as a Black woman who struggled to feel at home in the Jewish community. Too often “Black-Jewish relations” as a phrase defines two discrete communities. This book reminds us that this distortion of the truth both erases Jews of color and lets white Jews avoid taking responsibility for challenging social systems that privilege whiteness.
How do adult children of interracial parents-where one parent is Jewish and one is Black-think about personal identity? This question is at the heart of Katya Gibel Azoulay's Black, Jewish, and Interracial. Motivated by her own experience as the child of a Jewish mother and Jamaican father, Gibel Azoulay blends historical, theoretical, and personal perspectives to explore the possibilities and meanings that arise when Black and Jewish identities merge. As she asks what it means to be Black, Jewish, and interracial, Gibel Azoulay challenges deeply ingrained assumptions about identity and moves toward a consideration of complementary racial identities. Beginning with…
I am a professor who teaches and works in the field of African American History. Because I am both white and Jewish, I’ve been repeatedly asked to give talks about relationships between African Americans and white Jewish Americans, and about what “went wrong” to shatter the “grand alliance” of the civil rights movement embodied by Dr. Martin Luther King, Jr. and Rabbi Abraham Joshua Heschel. I had no answer, but I suspected that none of the stories that we had been told, whether good or bad, were fully true. So I went back to the sources and uncovered a complex and multilayered history. Black and Jewish collaboration was never a given, and underlying tensions and conflicts reflected the broader realities of race and class in the U.S. In the book I explored how these historical and political forces operated, and continue to resonate today.
Now that I’ve raised the issue of whiteness – ways in which American structures and institutions reflect the agendas and interests of white people, and the role those structures play in shaping opportunity and life experiences -- here I want to bring it front and center. Many white people don’t recognize how they benefit from having white skin (called “white privilege”) and many white ethnic groups, including many white Jews in the U.S., deny their white privilege altogether, insisting that they too have been the victim of white discrimination, and that anti-Black racism is no different. Brodkin offers a powerful counter-narrative, pointing out the many important ways that American Jews of European descent did indeed benefit from their white skin even when they did not realize it.
The fashion identities in the context of a wider conversation about American nationhood, to whom it belongs and what belonging means. Race and ethnicity, class, gender, and sexuality are all staple ingredients in this conversation. They are salient aspects of social being from which economic practices, political policies, and popular discourses create ""Americans."" Because all of these facets of social being have such significant meaning on a national scale, they also have major consequences for both individuals and groups in terms of their success and well-being, as well as how they perceive themselves socially and politically.
I am a professor who teaches and works in the field of African American History. Because I am both white and Jewish, I’ve been repeatedly asked to give talks about relationships between African Americans and white Jewish Americans, and about what “went wrong” to shatter the “grand alliance” of the civil rights movement embodied by Dr. Martin Luther King, Jr. and Rabbi Abraham Joshua Heschel. I had no answer, but I suspected that none of the stories that we had been told, whether good or bad, were fully true. So I went back to the sources and uncovered a complex and multilayered history. Black and Jewish collaboration was never a given, and underlying tensions and conflicts reflected the broader realities of race and class in the U.S. In the book I explored how these historical and political forces operated, and continue to resonate today.
Too often “Black-Jewish relations” focuses on Jewish engagement in the Black civil rights struggle, a largely one-sided political narrative. This book broadens that horizon in two ways. First, it focuses on the Black experience and encounter with the other, rather than the Jewish one. Second, it explores the religious dimension that political discussions often ignore – that the Black experience with Jews and Judaism is as much rooted in religion as in politics.
Black Zion explores the myriad ways in which African American religions have encountered Jewish traditions, beliefs, and spaces. The collection's unifying argument is that religion is the missing piece of the cultural jigsaw puzzle, that much of the recent turmoil in black-Jewish relations would be better understood, if not alleviated, if the religious roots of those relations were illuminated. Toward that end, the contributors look a number of provocative topics, including the concept of the Chosen People, the typological identification of blacks with Jews, the actual identification of blacks as Jews, the sacredness of space and symbols, the importance of…
I am a professor who teaches and works in the field of African American History. Because I am both white and Jewish, I’ve been repeatedly asked to give talks about relationships between African Americans and white Jewish Americans, and about what “went wrong” to shatter the “grand alliance” of the civil rights movement embodied by Dr. Martin Luther King, Jr. and Rabbi Abraham Joshua Heschel. I had no answer, but I suspected that none of the stories that we had been told, whether good or bad, were fully true. So I went back to the sources and uncovered a complex and multilayered history. Black and Jewish collaboration was never a given, and underlying tensions and conflicts reflected the broader realities of race and class in the U.S. In the book I explored how these historical and political forces operated, and continue to resonate today.
“Black-Jewish relations” occurs everywhere African Americans and Jewish Americans engage. Scholars and journalists have considered “Black-Jewish relations” in music and film, in economic and social spheres, in education and housing. Sundquist offers an incredibly rich exploration of this broad cultural landscape shaped by African and Jewish Americans. He explores the ways both groups struggled to understand themselves and engage with each other through literature and other forms of cultural expression and in legal, intellectual, and political forums. Black and Jewish authors and thinkers struggled over issues from the nature of citizenship, liberalism, and community to the challenges of racism, anti-Semitism, and historical reckoning. In this extensive and wide-ranging conversation, Sundquist frames the central concerns and beliefs that underlie the complex political relationship so many of us are trying to understand.
In a culture deeply divided along ethnic lines, the idea that the relationship between blacks and Jews was once thought special-indeed, critical to the cause of civil rights-might seem strange. Yet the importance of blacks for Jews and Jews for blacks in conceiving of themselves as Americans, when both remained outsiders to the privileges of full citizenship, is a matter of voluminous but perplexing record. It is this record, written across the annals of American history and literature, culture and society, that Eric Sundquist investigates. A monumental work of literary criticism and cultural history, Strangers in the Land draws upon…
I’m a Philadelphia-based journalist and new author. I’m the Editor at Large for Philadelphia Magazine and President of the Philadelphia Association of Black Journalists. As an openly Black gay journalist, I’ve headlined for speaking frankly about intersectional issues in society regarding race, LGBTQIA, and pop culture. Such experiences have awakened my consciousness as an underrepresented voice in the media and have pushed me to explore societal topics. My new book The Case for Cancel Culture, published by St. Martin's Press, is my way of staking my claim in the global conversation on this buzzworthy topic.
This book was the kind of post-Trump election awakening that made me feel unapologetic about the way I saw myself as a Black American.
The writing vividly expresses the rage and determination of marginalized voices in a way that’s beyond poignant, but intentional.
Blow, a respected journalist in his own right, pulls from history and current events to make a case for something ambitious: Reverse Black migration as a means of combating racial injustice in the South.
A New York Times Editor's Choice | A Kirkus Best Nonfiction Book of the Year
From journalist and New York Times bestselling author Charles Blow comes a powerful manifesto and call to action, "a must-read in the effort to dismantle deep-seated poisons of systemic racism and white supremacy" (San Francisco Chronicle).
Race, as we have come to understand it, is a fiction; but, racism, as we have come to live it, is a fact. The point here is not to impose a new racial hierarchy, but to remove an existing one. After centuries of waiting…
I am a longtime American journalist and former New York University Professor of Journalism who has written 10 books of non-fiction, several addressing issues of trauma. I was born in Prague, Czechoslovakia to two survivors of the Holocaust and was a baby immigrant to the U.S. after the Communist take-over of 1948. Although I have written a lot about the arts (music, books, and theater), I have also had a long-term interest in the psychological effects of psychic trauma in survivors of racism, antisemitism, sexism, genocide, war, illness, and natural disaster. My upcoming book is The Year of Getting Through It about being diagnosed with and undergoing treatment for endometrial cancer during COVID.
Baldwin first opened my eyes to the possibilities of memoir. When English teachers held up fiction as the literary ideal, I was drawn to Baldwin’s essays instead. I was a New Yorker, living not far from the author’s Harlem, and growing up at the time of the civil rights movement. Baldwin was writing autobiographical non-fiction that, knitted together individual temperament and social history. “I left America because I doubted my ability to survive the fury of the color problem here,” he wrote in Nobody Knows My Name. I read that paragraph as the daughter of Czech Jewish immigrants, white people who had survived both Nazism and Stalinism. Baldwin’s voice was like the voices I heard at home telling stories of the Second World War. It was both compelling and trustworthy. Fifty years later, I still think so.
'These essays ... live and grow in the mind' James Campbell, Independent
Being a writer, says James Baldwin in this searing collection of essays, requires 'every ounce of stamina he can summon to attempt to look on himself and the world as they are'. His seminal 1961 follow-up to Notes on a Native Son shows him responding to his times and exploring his role as an artist with biting precision and emotional power: from polemical pieces on racial segregation and a journey to 'the Old Country' of the Southern states, to reflections on figures such as Ingmar Bergman and Andre…
I have been writing and teaching about African American poetry and poetics for more than two decades. My passion began when I kept discovering long-lost poems that were published once, in Black newspapers, and then forgotten. I wondered why I had never learned about Gwendolyn Brooks in school, though I’d read about e.e. cummings and Robert Frost. Once I stumbled on the fact that Claude McKay discovered cummings, I realized how much the questions of influence and power aren’t really central topics in thinking about the genealogy of Black poets and their influence on each other and on poetry in general.
Kevin Young’s anthology is the latest in a long line of Black poetry anthologies; the first was James Weldon Johnson’s Book of American Negro Poetry (1922), which Young duly acknowledges. Most of Young’s choices I agree with; some I don’t (at least one of Paul Laurence Dunbar’s great sonnets should have been included); but in the main it is a terrific anthology of poets historical up to the present day. I counted almost 40 sonnets among the poems included. Readers who are interested in the dates the poems were published can turn to an extensive set of notes in the back, which are really helpful.
A literary landmark: the biggest, most ambitious anthology of Black poetry ever published, gathering 250 poets from the colonial period to the present
Across a turbulent history, from such vital centers as Harlem, Chicago, Washington, D.C., Los Angeles, and the Bay Area, Black poets created a rich and multifaceted tradition that has been both a reckoning with American realities and an imaginative response to them. Capturing the power and beauty of this diverse tradition in a single indispensable volume, African American Poetry reveals as never before its centrality and its challenge to American poetry and culture.
My writing background started in the newsroom where, as a reporter, my job was to interview and tell the stories of others. At one point in my career, my editors assigned me a bi-monthly column, and while I used this space to write about a variety of issues happening in the community, I also used it occasionally to write personal essays. I love this form because the personal story helps us drill down on an issue and, in essence, make deeper connections with the collective. When I left the newsroom, I continued to study and write in essay and memoir form. In my MFA program, I was able to focus on this form exclusively for two years, and I have spent many years crafting my first book-length memoir into form.
Faithful to its title, this brilliant book starts with the body — an unspeakable injury to the narrator’s body, a crime, a horror. Bernard writes with a specificity that is gut-wrenching without being sensational. And all along, running alongside the sensory language is the author’s intellectual river, constantly washing over and over a moment, a scene, a feeling, a thought. This book includes twelve interconnected essays, each building on the other despite how many years – and miles – separate them.
“Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably. . . . Race is the story of my life, and therefore black is the body of this book.”
In these twelve deeply personal, connected essays, Bernard details the experience of growing up black in the south with a family name inherited from a white man, surviving a random stabbing at a New Haven coffee shop, marrying a white man from the North and…
Paul D. Escott is the author of thirteen books focused on the Confederacy or the Union, is co-author of other volumes, and has written many articles and book chapters. He won research fellowships from the Rockefeller Foundation and the Whitney M. Young Jr. Foundation and is the Reynolds Professor of History Emeritus from Wake Forest University.
The decision to recruit Black soldiers made an enormous difference in the war and in politics. Black recruits to the U.S. Army equaled all the northern men lost in the first two years of fighting and proved themselves on many battlefields. Their sacrifice also made an irrefutable case for Black rights. Joseph Glatthaar’s book admirably tells the story of these soldiers and their white officers.
Sixteen months after the start of the American Civil War, the Federal government, having vastly underestimated the length and manpower demands of the war, began to recruit black soldiers. This revolutionary policy gave 180,000 free blacks and former slaves the opportunity to prove themselves on the battlefield as part of the United States Colored Troops. By the end of the war, 37,000 in their ranks had given their lives for the cause of freedom.
In Forged in Battle, originally published in 1990, award-winning historian Joseph T. Glatthaar re-creates the events that gave these troops and their 7,000 white officers justifiable…
I am a White person who grew up in a primarily Black DC neighborhood in the 1980s. Growing up in a Black community in DC at a time when the city was experiencing a cascade of crises – from the spread of crack to an AIDS epidemic to a failing school system – has fundamentally shaped my life and my view of the world. When I returned in the early twenty-first century to my city to find it had significantly changed and that many of my Black neighbors had been pushed out, I was compelled to learn more about DC before gentrification and to understand the path the city I love had taken.
Chocolate City covers the last few centuries of history in DC.
This tome provides an in-depth overview of the history of race in Washington, DC from its founding to the present. It traces the history of race and democracy in the nation’s capital – from its days as a trading post for enslaved persons to its emergence as a booming metropolis.
By putting racial dynamics, tensions, and demographics at the center of the narrative, the authors develop a cohesive narrative that helps us to understand the multiple and consistent ways that Black DC residents have been disenfranchised and dispossessed.
Monumental in scope and vividly detailed, Chocolate City tells the tumultuous, four-century story of race and democracy in our nation's capital. Emblematic of the ongoing tensions between America's expansive democratic promises and its enduring racial realities, Washington often has served as a national battleground for contentious issues, including slavery, segregation, civil rights, the drug war, and gentrification. But D.C. is more than just a seat of government, and authors Chris Myers Asch and George Derek Musgrove also highlight the city's rich history of local activism as Washingtonians of all races have struggled to make their voices heard in an undemocratic…
