Here are 100 books that Radical Vision fans have personally recommended if you like
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I first learned about Fannie Lou Hamer more than a decade ago, and I have been deeply inspired by her life story and her words. I didn’t initially think I would write a book about her. But the uprisings of 2020 motivated me to do so. Like so many people, I struggled to make sense of everything that was unfolding, and I began to question whether change was possible. The more I read Hamer’s words, the more clarity I found. Her vision for the world and her commitment to improving conditions for all people gave me a renewed sense of hope and purpose.
This is a book that inspired me as a historian and in my approach to activism. Barbara Ransby’s biography of Ella Baker excavates the activist’s life, placing the reader at the nexus of some of the most important moments in civil rights history. Ella Baker’s life also provides a blueprint for local activism and group-centered leadership. It’s a compelling story of how Ella Baker became a mentor, inspiring, listening to, and supporting local activists.
One of the most important African American leaders of the twentieth century and perhaps the most influential woman in the civil rights movement, Ella Baker (1903-1986) was an activist whose remarkable career spanned fifty years and touched thousands of lives. In this deeply researched biography, Barbara Ransby chronicles Baker's long and rich political career as an organizer, an intellectual, and a teacher, from her early experiences in depression-era Harlem to the civil rights movement of the 1950s and 1960s. Ransby paints a vivid picture of the African American fight for justice and its intersections with other progressive struggles worldwide across…
I studied forty years of the political misuses of the memory of Dr. King and the Civil Rights Movement as a sociologist at USC and the daughter of Iranian immigrants who has always been interested in questions of identity and belonging. My interest in civil rights struggles started early, growing up in Virginia, a state that celebrated the Martin Luther King, Jr. holiday alongside Robert E. Lee and Stonewall Jackson. I wanted to understand how revisionist histories could become the mainstream account of the past and how they mattered for the future of democracy.
This brilliant, best-selling book turned award-winning documentary is so fantastic for unraveling a revisionist history of the “tired old lady who wouldn’t move to the back of the bus.”
Not unlike the way I show how Dr. King’s memory has been sanitized and defanged, Theoharis shows how Parks’ memory has been voided of her long history of radical activism, and her unyielding pursuit of racial and social justice.
I thought about this book a lot as I was writing my chapter on the hidden Black women, the “sheroes” of the Civil Rights Movement who present-day Black feminist activists are resurrecting in public consciousness.
The basis for the documentary of the same name executive produced by award-winning journalist Soledad O’Brien. The Rebellious Life of Mrs. Rosa Parks premieres on Peacock on October 19.
2014 NAACP Image Award Winner: Outstanding Literary Work–Biography/Autobiography
2013 Letitia Woods Brown Award from the Association of Black Women Historians
Choice Top 25 Academic Titles for 2013
The definitive political biography of Rosa Parks examines her six decades of activism, challenging perceptions of her as an accidental actor in the civil rights movement.
This revised edition includes a new introduction by the author, who reflects on materials in the Rosa Parks…
I am a historian who just spent over a decade writing the biography of the civil rights activist and feminist activist, Mary Church Terrell. I wrote two other history books before I wrote Unceasing Militant, my first biography. I so enjoyed writing it that I plan on writing another, this time on a black woman named Mary Hamilton who was a leader in the Congress of Racial Equality (CORE) in the 1960s. The authors I selected approached their biographies of black women with respect and critical compassion.
Lea VanderVelde’s biography of Mrs. Dred Scott captures the environments in which Harriet Scott lived her life and filed her suit for freedom in 1846 (it took 11 years before the Scotts’ legal case was decided by the U.S. Supreme Court). Harriet Scott filed separately from her husband because she believed she could establish her freedom, thereby ensuring the freedom of her two daughters, whose condition followed that of the mother. An illiterate enslaved woman, Harriet Scott left virtually no documents. VanderVelde provides rich context in which to situate and explain Scott’s life and freedom struggle, vividly recreating her world. This informative book is well worth reading.
Among the most infamous U.S. Supreme Court decisions is Dred Scott v. Sandford . Despite the case's signal importance as a turning point in America's history, the lives of the slave litigants have receded to the margins of the record, as conventional accounts have focused on the case's judges and lawyers. In telling the life of Harriet, Dred's wife and co-litigant in the case, this book provides a compensatory history to the generations of work that missed key sources only recently brought to light. Moreover, it gives insight into the reasons and ways that slaves used the courts to establish…
I am a historian who just spent over a decade writing the biography of the civil rights activist and feminist activist, Mary Church Terrell. I wrote two other history books before I wrote Unceasing Militant, my first biography. I so enjoyed writing it that I plan on writing another, this time on a black woman named Mary Hamilton who was a leader in the Congress of Racial Equality (CORE) in the 1960s. The authors I selected approached their biographies of black women with respect and critical compassion.
Benjamin’s Half in Shadowis an excellent exploration of the life of Nellie Y. McKay (1930-2006), a pioneering scholar of black women’s literature. Fearing it could damage her career in the academy, McKay declined to be caricatured as an older, divorced, black single mother of two children. So, she hid this from all her academic colleagues and friends, including her closest ones. The driving force of Benjamin’s book is trying to make sense of the private life and professional motivations of McKay’s choice to live her life “half in shadow.” Benjamin suggests that black women in the academy face similar pressures to achieve in and conform to predominantly white spaces in ways that do not easily allow them to bring their entire selves into the light.
Nellie Y. McKay (1930-2006) was a pivotal figure in contemporary American letters. The author of several books, McKay is best known for coediting the canon-making Norton Anthology of African American Literature with Henry Louis Gates Jr., which helped secure a place for the scholarly study of Black writing that had been ignored by white academia. However, there is more to McKay's life and legacy than her literary scholarship. After her passing, new details about McKay's life emerged, surprising everyone who knew her. Why did McKay choose to hide so many details of her past? Shanna Greene Benjamin examines McKay's path…
I am a theater historian whose research focuses on African American theater of 1940s-50s. While other periods and movements—the Harlem Renaissance (1920s), the Federal Theatre Project (1930s), the Black Arts Movement (1960s), and contemporary theater—have been well studied and documented, I saw a gap of scholarship around the 1940s-50s; I wondered why those years had been largely overlooked. As I dived deeper, I saw how African American performance culture (ie. theater, film, television, music) of the later-20th Century had its roots in the history of those somewhat overlooked decades. I’m still investigating that story, and these books have helped me do it.
As I was writing my book, I delved more into the professional singing career of Harry Belafonte. I knew him as the singer of familiar, toe-tapping, globally-inspired hits (i.e. “The Banana Boat Song,” “Jump In the Line,” “Matilda”). I didn’t know about the depth and breadth of his commitment to racial justice. Nor did I realize, more importantly, how his Civil Rights activism informed and shaped his artistic career as an actor and a musician. An eye-opening read about a cultural icon.
A son of poor Jamaican immigrants who grew up in Depression-era Harlem, Harry Belafonte became the first black performer to gain artistic control over the representation of African Americans in commercial television and film. Forging connections with an astonishing array of consequential players on the American scene in the decades following World War II-from Paul Robeson to Ed Sullivan, John Kennedy to Stokely Carmichael-Belafonte established his place in American culture as a hugely popular singer, matinee idol, internationalist, and champion of civil rights, black pride, and black power.
In Becoming Belafonte, Judith E. Smith presents the first full-length interpretive study…
I am a theater historian whose research focuses on African American theater of 1940s-50s. While other periods and movements—the Harlem Renaissance (1920s), the Federal Theatre Project (1930s), the Black Arts Movement (1960s), and contemporary theater—have been well studied and documented, I saw a gap of scholarship around the 1940s-50s; I wondered why those years had been largely overlooked. As I dived deeper, I saw how African American performance culture (ie. theater, film, television, music) of the later-20th Century had its roots in the history of those somewhat overlooked decades. I’m still investigating that story, and these books have helped me do it.
We often learn about African American history in the 20th Century in terms of a conflict between nonviolent resistance vs. violent radicalism, integrationism vs. separatism, Martin vs. Malcolm. But this is an over-simplification of a complex and dynamic moment in the history of our nation. More than any other work, Black is a Country helped me think differently about the period that I study, and see African American history and culture of the mid-20th Century in a new way.
Despite black gains in modern America, the end of racism is not yet in sight. Nikhil Pal Singh asks what happened to the worldly and radical visions of equality that animated black intellectual activists from W. E. B. Du Bois in the 1930s to Martin Luther King, Jr. in the 1960s. In so doing, he constructs an alternative history of civil rights in the twentieth century, a long civil rights era, in which radical hopes and global dreams are recognized as central to the history of black struggle.
It is through the words and thought of key black intellectuals, like…
I am a theater historian whose research focuses on African American theater of 1940s-50s. While other periods and movements—the Harlem Renaissance (1920s), the Federal Theatre Project (1930s), the Black Arts Movement (1960s), and contemporary theater—have been well studied and documented, I saw a gap of scholarship around the 1940s-50s; I wondered why those years had been largely overlooked. As I dived deeper, I saw how African American performance culture (ie. theater, film, television, music) of the later-20th Century had its roots in the history of those somewhat overlooked decades. I’m still investigating that story, and these books have helped me do it.
Perhaps no one is more readily identified with racial integration than Jackie Robinson. Our culture now lionizes Robinson for his accomplishments, but also for having “guts enough not to fight back” (as his general manager Branch Rickey reportedly said to him) against the bigotry and insults that surrounded him. In many ways, the story of Jackie Robinson as a quiet, passive figure who just let his playing do the talking is incomplete. This book reveals more of the story of Robinson’s historic and sometimes surprisingly “radical” work in breaking baseball’s color barrier.
Reclaiming 42 centers on one of America's most respected cultural icons, Jackie Robinson, and the forgotten aspects of his cultural legacy. Since his retirement in 1956, and more strongly in the last twenty years, America has primarily remembered Robinson's legacy in an oversimplified way, as the pioneering first black baseball player to integrate the Major Leagues. The mainstream commemorative discourse regarding Robinson's career has been created and directed largely by Major League Baseball (MLB), which sanitized and oversimplified his legacy into narratives of racial reconciliation that celebrate his integrity, character, and courage while excluding other aspects of his life, such…
I am a theater historian whose research focuses on African American theater of 1940s-50s. While other periods and movements—the Harlem Renaissance (1920s), the Federal Theatre Project (1930s), the Black Arts Movement (1960s), and contemporary theater—have been well studied and documented, I saw a gap of scholarship around the 1940s-50s; I wondered why those years had been largely overlooked. As I dived deeper, I saw how African American performance culture (ie. theater, film, television, music) of the later-20th Century had its roots in the history of those somewhat overlooked decades. I’m still investigating that story, and these books have helped me do it.
We tend to think about the Black Arts Movement of the 1960s as dominated by militant male voices. This book explores the rich contributions of black women artists to the movement—by amplifying the voices of women artists in their own words. The book is a collection of oral histories, drawing on dozens of interviews with influential Black women artists. Some of them are recognizable, like playwrights/poets Sonia Sanchez and Ntozake Shange. Others are less familiar names whose influence should be appreciated more fully. This is a rich celebration of the impact of women artists during a key period of African American cultural change.
The first oral history to fully explore the contributions of black women intellectuals to the Black Arts Movement, Sistuhs in the Struggle reclaims a vital yet under-researched chapter in African American, women's, and theater history. This groundbreaking study documents how black women theater artists and activists-many of whom worked behind the scenes as directors, designers, producers, stage managers, and artistic directors-disseminated the black aesthetic and emboldened their communities.
Drawing on nearly thirty original interviews with well-known artists such as Ntozake Shange and Sonia Sanchez as well as less-studied figures including distinguished lighting designer Shirley Prendergast, dancer and choreographer Halifu Osumare,…
Over the past 50 years, I've been one of those “tenured radicals” the right-wing loved to bash. But before that, during the 1960s, I worked, often full-time, in the social movements that didchange America: civil rights, anti-war, feminism. I was older, so I became a “professor-activist.” As a teacher, I applied what I had learned in the movements to reconstruct ideas about which writers mattered—women as well as men, minorities as well as whites: Zora Neale Hurston, Frederick Douglass, Adrienne Rich as well as Nathaniel Hawthorne, Herman Melville, Ernest Hemingway. Using that principle, I led a team that created a very successful collection, The Heath Anthology of American Literature.
Fifty-five stories of dedication, terror, rage, and faith make up Hands on the Freedom Plow. These narratives by women, black and white, describe their devotion to the activist Civil Rights work of the Student Nonviolent Coordinating Committee, SNCC—“snick.” I found myself powerfully drawn to accounts with which I was familiar—door-to-door organizing, singing meetings in the hot Mississippi summer, police and Klan assaults, jail time, but above all the solidarity of women (and men) fervent about the cause of achieving “freedom now.” Brief historical overviews of legendary 60s campaigns knit these accounts, as do the short bios that trace the enduring work—as singers, lawyers, preachers, organizers—of these women over the past 50 years.
In Hands on the Freedom Plow, fifty-two women--northern and southern, young and old, urban and rural, black, white, and Latina--share their courageous personal stories of working for the Student Nonviolent Coordinating Committee (SNCC) on the front lines of the Civil Rights Movement. The testimonies gathered here present a sweeping personal history of SNCC: early sit-ins, voter registration campaigns, and freedom rides; the 1963 March on Washington, the Mississippi Freedom Summer, and the movements in Alabama and Maryland; and Black Power and antiwar activism. Since the women spent time in the Deep South, many also describe risking their lives through beatings…
I have a PhD in history and used to be a college professor. I decided to write historical fiction novels so that I could reach a larger audience than college students and share incredible stories from history with more people. The reason I created this list of books about women is because the farther back in history we look, the more invisible women seem to become. That’s why I wanted to tell Theodora’s story—it’s an amazing tale, first, but it also allowed me to share how different conditions were for women in the past. The other books I’ve recommended do the same.
The setting of the book was a huge draw for me—1960s Mississippi. Celeste is a member of the Student Nonviolent Coordinating Committee, and she goes to rural Mississippi in 1964 to take part in Freedom Summer, a major event of the Civil Rights Movement.
I enjoyed this because, for all its drama, heroism, and moral righteousness, the Civil Rights Movement doesn’t get a lot of attention in historical fiction. I feel like it should.
Readers will be drawn in by the all-encompassing scope of segregation in 1960s Mississippi. Add in some characters with secrets, some people who unexpectedly rise to the occasion, and the overall climate of fear that pervaded Mississippi at the time, and you’ll enjoy this book if you care about civil rights at all.
The critically acclaimed debut novel from pioneering actress and writer Denise Nicholas tells the story of one young woman's coming of age via the political and social upheavals of the civil rights movement. Nineteen-year-old Celeste Tyree leaves Ann Arbor to go to Pineyville, Mississippi, in the summer of 1964 to help found a voter registration project as part of Freedom Summer. As the summer unfolds, she confronts not only the political realities of race and poverty in this tiny town, but also deep truths about her family and herself. Drawing on Nicholas' own involvement in the movement, Freshwater Road was…
