Here are 36 books that Let America Be America Again fans have personally recommended if you like
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I'm a specialist of ancient Egyptian social history, who against the better judgment of (practically all) her colleagues uses the ancient past to make the present understandable. If we don’t fetishize the ancient Egyptians as separate and magical, they have something to teach us, whispering to us from the past through papyri, temples, and archaeological sites. After all, Egyptian history is 3000 years plus in its time span, an astounding data set of a people using same approximate language, government system, religion, and culture. Some of us look hungrily to replicate that kind of lasting and divine power. I am obsessed with power—how it works, why we are helpless to it, and who gets exploited by it. The ancient Egyptian kings effectively packaged their power not only as necessary, but as moral and good, ancient marketing that continues to work on our minds.
I am recommending this book because one can’t understand power without being beholden to it systemically and repeatedly, all the while dissecting power’s discontents. Baldwin’s words may seem to strike only to America’s core, but every marginalized person will find truth in them. As an Egyptologist, I rely on Baldwin to tell me what oppressed people in an authoritarian regime thought but could not commit to paper.
James Baldwin was a uniquely prophetic voice in American letters. His brilliant and provocative essays made him the literary voice of the Civil Rights Era, and they continue to speak with powerful urgency to us today, whether in the swirling debate over the Black Lives Matter movement or in the words of Raoul Peck's documentary "I Am Not Your Negro." Edited by Nobel laureate Toni Morrison, the Library of America's Collected Essays is the most comprehensive gathering of Baldwin's nonfiction ever published.
With burning passion and jabbing, epigrammatic wit, Baldwin fearlessly articulated issues of race and democracy and American identity…
I am an English teacher who is the child of an English teacher. I majored in comparative literature at college and went on to earn a PhD in English Literature. But the experience of reading picture books to my own children was more important to me than any fancy degree. I fell in love with books all over again, with the shape and feel of them, with the fonts, with the way the words sounded out loud, with the way the images extended and commented on the story. “Ah!” I thought, “I should write my own picture book.” So began a long and not so simple journey. I hope my own books foster a love of words, art, and creativity in both adult and child readers.
This is not literally a biography of a writer, but an illustrated poem that immerses the reader in the experience of reading. All writers are readers first, and all writers need readers, so that is why I am including it in my list. When I looked at reviews online, many of them complained that the artwork and the script made the book hard to read. I could not disagree more. The writing and the art literally become one in this brilliant mesmerizing book. I love that Alexander references Langston Hughes reading on a stoop at the beginning. Then he proceeds to the central simile:
Once you’re comfy,
Peel its gentle skin,
Like you would
A clementine
The color of
Sunrise.
Melissa Sweet’s orange, yellow, and pink collage literally rises from the page. This is a book to savor slowly, to read again, and again, and again.
A stunning new picture book from Newbery Medalist Kwame Alexander and Caldecott Honoree Melissa Sweet! This New York Times bestselling duo has teamed up for the first time to bring you How to Read a Book, a poetic and beautiful journey about the experience of reading.
Find a tree-a
black tupelo or
dawn redwood will do-and
plant yourself.
(It's okay if you prefer a stoop, like Langston Hughes.)
With these words, an adventure begins. Kwame Alexander's evocative poetry and Melissa Sweet's lush artwork come together to take readers on a sensory journey between the pages of a book.
As an American who writes about the history of the Soviet Union, I am constantly trying to understand people separated from me by identity, ideology, language—and time. Applying strategies for empathizing across political, cultural, and linguistic boundaries is, in many ways, the basic task of historical research. At a moment of intense political polarization, the task has become more necessary than ever. My most recent book examines this process by retracing the American journey of two Soviet travelers. Their willingness to laugh at themselves allowed them, at least sometimes, to set aside their presuppositions and see the alien land of the capitalists and the world of socialism anew.
The poet Langston Hughes’s autobiography engagingly recounts his travels to Cuba, Haiti, Japan, and Spain during the Civil War. The book's centerpiece is his 1931-1932 trip to the Soviet Union. He visited as part of a contingent of twenty-two African Americans hired to make a film on race relations in the United States.
The film project never panned out, but Hughes took advantage of the situation to visit Soviet Central Asia. He understood that his hosts tried too hard to convince American visitors of the progress made under the Soviet regime. But his autobiography also conveys the wonderful strangeness of being in a country officially committed to antiracism, where people of color had opportunities for education and advancement.
In I Wonder as I Wander, Langston Hughes vividly recalls the most dramatic and intimate moments of his life in the turbulent 1930s.
His wanderlust leads him to Cuba, Haiti, Russia, Soviet Central Asia, Japan, Spain (during its Civil War), through dictatorships, wars, revolutions. He meets and brings to life the famous and the humble, from Arthur Koestler to Emma, the Black Mammy of Moscow. It is the continuously amusing, wise revelation of an American writer journeying around the often strange and always exciting world he loves.
I love sharing poetry with children! I became inspired to write poetic picture books during my 20-year career as an elementary school librarian. In class, we often read aloud, discussed, and performed poems. My students considered word choices, identified alliteration, metaphor, and simile, and developed a sophisticated vocabulary of “beautiful” words. They delighted in using their senses to write about special places and moments and did research to create and illustrate fact-based poems about people and animals. In exploring poetry and biographies of poets, students found inspiration and used their authentic voices to craft their own funny, engaging, and thoughtful poetry.
If you doubt poetry’s power to sweep you up and bring you to tears, you must read Burleigh’s deep dive into Langston Hughes’ inspiration for his famous poem, “The Negro Speaks of Rivers”. You’ll take this story to heart and keep it there. I got the chills from the author’s note, which explains that Burleigh’s goal was to explore “the moment when Langston Hughes came to believe in himself as a writer” – and have that moment inspire others. In vibrant, poetic prose perfect for reading aloud, Burleigh begins with Hughes celebrating his first book.
In a flashback, Hughes, on a train, muses over his personal history. As the train crosses the Mississippi, he reaches further back into his people’s history, until he entwines those strands into one gorgeous, resonant work of art.
Robert Burleigh's inspiring text captures the magical moment when Langston Hughes came to believe in himself as a writer, as he first wrote "The Negro Speaks of Rivers."
Clackety clack clack clack... Can you hear the rhythm of the train? Langston Hughes did. Traveling to see his father in 1920, as he listened to the sounds of the train -- metal on metal, wheels on rails -- Hughes's imagination took flight. On that ride, he was inspired to write his first famous poem, "The Negro Speaks of Rivers." This picture book tells the story of Langston Hughes's rise to accomplishing…
Several months before the Covid-19 pandemic upended the world as we knew it, my life was turned upside-down by reports of suicide rates and attempted suicides doubling for Black children. In fact, during late Fall 2019, Congress established an Emergency Task Force on Youth Suicide and Mental Health. I’d already been reading accounts of Black children ending their lives on social media, and as a writer, decided to leave a legacy of books that helped armor Black children with love as they navigated spaces that would not always welcome their brilliance and beauty. I wanted to help encourage them to embrace life’s joys and to love themselves, always.
Kwame Alexander is a creative force of nature, an award-winning author of poetry and children’s fiction, such as Out of Wonder: Poems Celebrating Poets, Becoming Muhammad Ali, co-authored with James Patterson, andThe Crossover, soon to be a Disney+ television series. InThe Undefeated, Alexander displays masterful lyrical language skills, and by telling us what we are not, shows us what we are: resilient, strong, and brave. Read this book to Black children and bask in the love.
Originally performed for ESPN's The Undefeated, this poem is a love letter to black life in the United States. It highlights the unspeakable trauma of slavery, the faith and fire of the civil rights movement, and the grit, passion, and perseverance of some of the world's greatest heroes. The text is also peppered with references to the words of Martin Luther King, Jr., Langston Hughes, Gwendolyn Brooks, and others, offering deeper insights into the accomplishments of the past, while bringing stark attention to the endurance and spirit of those surviving and thriving in the present.
I am a scholar of African Diaspora cultural studies, which means I spend a lot of time analyzing texts in various forms: books, art, film, music, and even laws and legal documents. The cultural texts I study were produced by people. I am passionate about Black popular culture, because it dismantles some of the enduring divisions between academic institutions and the people who live beyond their walls. It is a field of study that is always in flux, especially now with twenty-first-century advances that position popular culture as almost always at our fingertips.
This book focuses mostly on literary criticism, but I chose it because of the theoretical work Alexander does in defining “the black interior.” The concept of the black interior unpacks the ways in which Black bodies and blackness have been devalued and dehumanized. This book and its theoretical underpinnings insist upon recoupling the “human” with blackness. I love how the book challenges viewing and spectatorship and calls upon readers to recognize black life and creativity beyond stereotypes that guide the limited imaginations of the dominant culture that relentlessly misrepresents and maligns blackness.
Legendary poet Elizabeth Alexander turns her finely-honed sensibilities to the subject of blackness and the interior world of the modern African-American. Intelligent, perceptive and keenly observed, this collection of essays traces a thoughtful path through music, poetry and the outstanding social issues of the last 200 years to synthesise a remarkable picture of the modern African-American psyche. From Langston Hughes to the Rodney King video, Alexander leads her reader effortlessly over the complex terrain of art and politics to a new vision of the black interior.
All of my books and stories have at least one thing in common: strong women. I’ve always been fascinated by women who are fighters and who aren’t afraid to challenge the status quo. Astra, the main character in A Bright Young Thing, is definitely not alone in pushing back against society’s expectations: the women in these books (and many in real life in the 1930s) also find the strength to say no, to stand in their power, and truly live life their way.
The most famous short story in this collection is about Cora, whose whole life is spent in drudgery first to her own family, and then to the locally prominent Studevants. In her own life, Cora is somewhat unconventional—she feels no shame for having an illegitimate child at a time when that was frowned upon, to say the least—but she’s quietly obedient to her difficult employers. Until, that is, one of them causes a tragedy, and Cora feels compelled to speak up very publicly. And, oh, when she does it is immensely satisfying! (TW: racially charged language and abortion)
THE CELEBRATED SHORT STORY COLLECTION FROM THE AMERICAN POET AND WRITER OFTEN CALLED THE 'POET LAUREATE OF HARLEM'
A black maid forms a close bond with the daughter of the cruel white couple for whom she works. Two rich, white artists hire a black model to pose as a slave. A white-passing boy ignores his mother when they cross each other on the street.
Written with sardonic wit and a keen eye for the absurdly unjust, these fourteen stories about racial tensions are as relevant today as the day they were penned, and linger in the mind long after the…
I’ve spent my career as a sociologist studying how creative people work, what social settings are most conducive to creativity, and how to foster creativity for everyone in our daily lives. I know that creativity is often not easy and can even be met with hostility much more frequently than we might think. Creativity is, after all, a type of deviance and creative people can face real obstacles in finding and following their vision. But a richer understanding of how and why creativity happens – and of its obstacles – can be a tool for making a more vibrant, creative, inclusive, and just world.
On top of having written one of the most profound novels of the 20th century, Zora Neale Hurston was a fierce and fearless proponent of authenticity in literature and art – and she paid the price for that.
Boyd’s biography of her is the best, delving into this complex woman who was both deeply of her time and way ahead of it. Boyd quotes Hurston in one of my all-time favorite lines by a writer responding to a demeaning critic: “I will send my toe-nails to debate him…” An inspiration for all creative people facing rejection for being true to themselves!
From critically acclaimed journalist Valerie Boyd comes an eloquent profile of one of the most intriguing cultural figures of the twentieth century—Zora Neale Hurston.
A woman of enormous talent and remarkable drive, Zora Neale Hurston published seven books, many short stories, and several articles and plays over a career that spanned more than thirty years. Today, nearly every black woman writer of significance—including Maya Angelou, Toni Morrison, and Alice Walker—acknowledges Hurston as a literary foremother, and her 1937 masterpiece Their Eyes Were Watching God has become a crucial part of the modern literary canon.
Ever since I can remember, I’ve been fascinated with life and death. As a child, my own life was fairly mundane and even joyful. However, I went through loss like most. We lost two dogs when I was maybe seven or nine. Then my beagle Suzy, who we had the longest, was struck by a car on a rainy day. A few years later, my grandfather passed from cancer. Watching my mother grieve stuck with me. It shaped me—how I cared about life, how I longed to understand it. Once I decided to write stories for children, I knew it could be a safe place to explore my hidden feelings.
This is a warm hug book. The kind that sneaks up on you when you’re reading words. Langston is a lovable main character. His story is rich with family, tradition, loss, and poetry. He is eleven when his mother dies, and his dad decides they must leave Alabama. So many changes for this boy as he is bullied and deals with segregation in 1940s Chicago. But he discovers the library that welcomes all. Such a sweet story and perfect for younger middle grade readers.
A Coretta Scott King Author Honor Book Winner of the Scott O'Dell Award for Historical Fiction
When eleven-year-old Langston's father moves them from their home in Alabama to Chicago's Bronzeville district, it feels like he's giving up everything he loves.
It's 1946. Langston's mother has just died, and now they're leaving the rest of his family and friends. He misses everything--Grandma's Sunday suppers, the red dirt roads, and the magnolia trees his mother loved.
In the city, they live in a small apartment surrounded by noise and chaos. It doesn't feel like a new start, or a better life. At…
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.
