Here are 100 books that Chocolate City fans have personally recommended if you like
Chocolate City.
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I’m a law professor at Boston University who has studied and written about constitutional law, democracy, and inequality for over 20 years. I’m troubled by America’s rise to become the world’s leader in imprisoning its own citizens and the continued use of inhumane policing and punishment practices. These trends must be better understood before we can come up with a form of politics that can overcome our slide into a darker version of ourselves.
Forman’s book is a must-read to learn why the War on Crime was not merely the work of one party or one racial group in society. Indeed, a number of people of color, including black mayors and black chiefs of police, strongly supported tough-on-crime measures.
The book raises the question of what it will take to reverse the trends of mass incarceration, given these realities.
Winner of the 2018 Pulitzer Prize for General Non-Fiction
Longlisted for the National Book AwardOne of the New York Times Book Review's 10 Best Books of 2017Former public defender James Forman, Jr. is a leading critic of mass incarceration and its disproportionate impact on people of colour. In LOCKING UP OWN OWN, he seeks to understand the war on crime that began in the 1970s and why it was supported by many African American leaders in the nation's urban centres.Forman shows us that the first substantial cohort of black mayors, judges and police chiefs took office amid…
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.
Read this book if you want to understand the nuances of blackness in the nation’s capital.
Brandi Thompson Summers argues in her book, Black in Place, that gentrification along the H Street Corridor in DC has involved the embracing of blackness as an aesthetic alongside the displacement of actual Black people. Summers explains how blackness came to be valued as a prized aesthetic at the same time that Black people experienced the heavy policing, predatory lending, and displacement that both make possible and accompany the gentrification of Black neighborhoods.
While Washington, D.C., is still often referred to as "Chocolate City," it has undergone significant demographic, political, and economic change in the last decade. In D.C., no place represents this shift better than the H Street corridor. In this book, Brandi Thompson Summers documents D.C.'s shift to a "post-chocolate" cosmopolitan metropolis by charting H Street's economic and racial developments. In doing so, she offers a theoretical framework for understanding how blackness is aestheticized and deployed to organize landscapes and raise capital. Summers focuses on the continuing significance of blackness in a place like the nation's capital, how blackness contributes to…
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.
This is a great book if you want to understand how some expressions of blackness can be valued while Black people are being displaced.
Derek Hyra describes gentrification and racial change in the Shaw neighborhood of Washington, DC – which went from 90 percent Black in 1970 to 30 percent Black by 2010. Shaw’s status as the cultural epicenter of the Black community in the early twentieth century has become a selling point: many of the new establishments highlight this Black history, with odes to Marvin Gaye, Langston Hughes, and Duke Ellington in their names and featured artwork.
Hyra argues many of the White newcomers to Shaw embrace its Black history while ignoring the needs and preferences of contemporary Black residents. Thus, Black residents are experiencing both political and cultural displacement as they have lost political and economic power in the neighborhood.
For long-time residents of Washington, D.C.'s Shaw/U Street, the neighborhood has become almost unrecognizable in recent years. Where the city's most infamous open-air drug market once stood, a farmers' market now sells grass-fed beef and homemade duck egg ravioli. On the corner where AM.PM carryout used to dish out soul food, a new establishment markets its $28 foie gras burger. Shaw is experiencing a dramatic transformation, from "ghetto" to "gilded ghetto," where white newcomers are rehabbing homes, developing dog parks, and paving the way for a third wave coffee shop on nearly every block.Race, Class, and Politics in the Cappuccino…
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.
This book offers insight into how Black DC residents think about their changing city.
For many Black long-term residents, DC has long been a “Chocolate city,” a city where Black people held both the demographic and political majority, and where Black people created their own spaces of belonging, pride, and self-reliance.
This book draws from oral histories and ethnographic data with long-term African-American residents of DC to explain both how gentrification has enhanced the vulnerability of low-income residents and how Black residents of DC are reclaiming spaces in their city.
This book uses qualitative data to explore the experiences and ideas of African Americans confronting and constructing gentrification in Washington, D.C. It contextualizes Black Washingtonians' perspectives on belonging and attachment during a marked period of urban restructuring and demographic change in the Nation's Capital and sheds light on the process of social hierarchies and standpoints unfolding over time. African Americans and Gentrification in Washington, D.C. emerges as a portrait of a heterogeneous African American population wherein members define their identity and culture as a people informed by the impact of injustice on the urban landscape. It presents oral history 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 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.
I have spent an entire career, via reading, research, and teaching, helping people realize their dreams. For me, it represents “paying it forward,” thanking those who helped a girl from an ethnic, working-class background become an internationally recognized scholar. Studying optimism and goal-seeking has taught me that dreaming and optimism are important—but they are simply not enough to move someone forward. Dreams must become projects motivated by mentoring, planning, and hard work. Not everyone has those resources available to them. The curse of social inequality can indeed destroy hopes and dreams in the very early lives of the socially disadvantaged—with devastating consequences for society as a whole.
This book shows how powerful are the tenets of the American Dream. It also shows how our society has failed to live up to those tenets.
My most important take-away is that the growing racial divide in achieving dreams will lead to deeper and deeper fractures in the fabric of American Society.
The ideology of the American dream - the faith that an individual can attain success and virtue through strenuous effort - is the very soul of the American nation. This book argues that Americans have failed to face up to what that dream requires of their society, and yet they possess no other central belief that can save the United States from chaos. This text attributes America's national distress to the ways in which white and African Americans have come to view their own and each other's opportunities. By examining the hopes and fears of whites and especially of blacks…
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 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.
There are many wonderful, useful and thoughtful books on the subject from local studies to broader political and philosophical overviews, and while I wish I could recommend them all, I want to highlight Marc Dollinger’s book because he turns so many widely held beliefs on their heads. He argues that far from alienating Jewish allies, Black Power actually animated them and spurred them to rethink “Jewish Power,” revitalizing Jewish political action within a civil rights context. If there has been a divide between African American and (white) Jewish American leaders or agendas, it has at least partly been caused by losing sight of that story and ignoring the impact of white privilege on Jewish communal responses to civil rights challenges.
In this provocative critique, Marc Dollinger charts the transformation of American Jewish political culture from the Cold War liberal consensus of the early postwar years to the rise and influence of Black Power-inspired ethnic nationalism. He shows how, in a period best known for the rise of black anti-Semitism and the breakdown of the black-Jewish alliance, black nationalists enabled Jewish activists to devise a new Judeo-centered political agenda and express it in more visible forms of Jewish identity-including the emancipation of Soviet Jews, the development of a new form of American Zionism, the opening of hundreds of Jewish day schools,…
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…
