Here are 100 books that Sistuhs in the Struggle fans have personally recommended if you like
Sistuhs in the Struggle.
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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.
I’ve taught Lorraine Hansberry’s landmark 1959 play A Raisin in the Sun many times in my university courses. That play transformed African American theater in the Civil Rights era and marked a phenomenal debut for its 29-year-old writer. In her too-short life (she died a few years later from pancreatic cancer), Hansberry built an extraordinary life as a writer, intellectual, and political activist. This biography tells that rich, remarkable story.
A "loving, lavishly detailed" (New York Times) and captivating portrait of Lorraine Hansberry's life, art, and political activism-one of O Magazine's best books of April 2021
"A devoted and deeply felt account of the development of an artist's mind."-Dave Itzkoff, New York Times Book Review (2021 Summer Reading issue)
In this acclaimed biography of Lorraine Hansberry, Soyica Diggs Colbert narrates a life at the intersection of art and politics, arguing that for Hansberry the theater operated as a rehearsal room for her political and intellectual work. Celebrated for her play A Raisin in the Sun, Hansberry was also the author…
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…
Good question. Why would a white guy be passionate about nineteenth-century African American community building and activism? It’s a long story, but the short version is that by the time I reached graduate school, I could no longer avoid the realization that I had been dramatically miseducated about American history, and that the key to American history—one important key, anyway—is African American history. You can’t understand what it means to be an American if you don’t know this history, and you can’t understand our own very troubled times, or how to respond to these times, how to turn frustration into action, unless you know this history. So I developed my expertise over the years.
If you think that literary societies have nothing to do with African American community activism, then this book will make you think again. African Americans were excluded from schools, libraries, and most of the usual publishing outlets—but they still developed a vibrant culture that produced newspapers, pamphlets, and books, and they developed libraries and literary societies committed to reading these and other productions. McHenry expertly guides us through this relatively unknown but central culture of reading, tracing the rise of African American literary societies, the work of the Black Press, and the vital connection between reading, writing, and social reform efforts. These efforts were supported by broader African American organizational efforts, the creation of churches and mutual aid societies that provided refuge for readers and forums for writers, and McHenry explores the social and intellectual networks that developed from these efforts, as African Americans read their way to new visions…
Over the past decade the popularity of black writers including E. Lynn Harris and Terry McMillan has been hailed as an indication that an active African American reading public has come into being. Yet this is not a new trend; there is a vibrant history of African American literacy, literary associations, and book clubs. Forgotten Readers reveals that neglected past, looking at the reading practices of free blacks in the antebellum north and among African Americans following the Civil War. It places the black upper and middle classes within American literary history, illustrating how they used reading and literary conversation…
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.
Everyone should read this book and own this book, which contains key poems from A Street in Bronzeville, Annie Allen (the book for which Gwendolyn Brooks won the Pulitzer Prize in 1950), The Bean Eaters, as well as new poems. Brooks’s sonnets are like a knife in a heart made vulnerable. I could read these poems—especially “The Sundays of Satin-Legs Smith”—again and again. Gwendolyn Brooks was the best American poet of the twentieth century, bar none.
Selected Poems is the classic volume by the distinguished and celebrated poet Gwendolyn Brooks, winner of the 1950 Pulitzer Prize, and recipient of the National Book Foundation Medal for Distinguished Contribution to American Letters. This compelling collection showcases Brooks's technical mastery, her warm humanity, and her compassionate and illuminating response to a complex world. This edition also includes a special PS section with insights, interviews, and more—including a short piece by Nikki Giovanni entitled "Remembering Gwen."
By 1963 the civil rights movement was in full swing across the United States, and more and more African American writers were increasingly outspoken…
As a historian with expertise in the early church, Middle Ages, and Reformation, I am obsessed with finding the writings and stories of women of the past. Whenever we discover works written by an unknown or forgotten woman in an archive or historical record, my co-author Marion Taylor and I excitedly email one another: “We rescued another woman!” I study the history of biblical interpretation and the history of women in religion. In most of my books, these two interests intersect—as I write about men throughout history who viewed stories of biblical women through patriarchal lenses and how women themselves have been biblical interpreters, often challenging men’s prevailing views.
Drawing upon her expertise in African American literature, Katherine Clay Bassard writes about the ways Black women poets, novelists, preachers, and orators from the 1700s through the 1900s used biblical themes and images to challenge the dominant culture’s oppression of women and people of color. African American women used a variety of scriptural images, including the Queen of Sheba and the “black but comely” female speaker in the Song of Songs, to argue for Black women’s dignity. Bassard celebrates African American women’s creativity and their shrewd employment of scriptural passages to engage in resistance to racism and sexism.
Black women writers reclaim the sacred text. ""Transforming Scriptures"" is the first sustained treatment of African American women writers' intellectual, even theological, engagements with the book ""Northrup Frye"" referred to as the 'great code' of Western civilization. Katherine Clay Bassard looks at poetry, novels, speeches, sermons, and prayers by Maria W. Stewart, Frances Harper, Hannah Crafts, Harriet E. Wilson, Harriet Jacobs, Zora Neale Hurston, Toni Morrison, and Sherley Anne Williams and discusses how such texts respond as a collective 'literary witness' to the use of the Bible for purposes of social domination. Black women's historic encounters with the Bible were,…
By Cathy N. Davidson and Christina Katopodis
Author
Why are we passionate about this?
We are two college-level educators, one has had a long career, one a recent PhD. We share a commitment to lifelong learning, not just in the classroom but beyond. And we love learning from one another. We wrote The New College Classroomtogether during the pandemic, meeting over Zoom twice a week, discussing books by other educators, writing and revising and rewriting every word together, finding ways to think about improving our students’ lives for a better future even as the world seemed grim. The books we cherish share those values: hope, belief in the next generation, and a deep commitment to learning even in—especiallyin—the grimmest of times.
Although her father died when she was only nine, the great scholar of African American life and literature, Farah Jasmine Griffin has never forgotten his admonition to her: “Read until you understand.” In this beautiful book, Professor Griffin guides us to an understanding of the U.S. Constitution, Malcolm X, Marvin Gaye, and Stevie Wonder, the artist Romare Bearden, and writers as different as the enslaved 18th-century poet Phillis Wheatley and Nobel Prize winner Toni Morrison. As educators, we have read and re-read and read again. Every read reveals a new level of understanding and we are grateful for the journey on which Professor Griffin leads us.
Farah Jasmine Griffin has taken to her heart the phrase "read until you understand," a line her father, who died when she was nine, wrote in a note to her. She has made it central to this book about love of the majestic power of words and love of the magnificence of Black life. Griffin has spent years rooted in the culture of Black genius and the legacy of books that her father left her. A beloved professor, she has devoted herself to passing these works and their wisdom on to generations of students.
Ever since my childhood on a farm poetry has helped me pay attention to the world around me. Like a naturalist’s field guide, nature poems name, depict, and explore what might otherwise pass unnoticed. Now in the midst of environmental crisis I believe poets have a role alongside ecologists, farmers, and foresters to protect and restore our threatened habitats and species. Writing nature poetry helps me face and express loss while celebrating what still survives. I value poetry that connects us to what we love and gives us courage to imagine different ways of living.
This is an exciting and important poetry anthology.
Spanning the history of black poetry in America, the editor Camille T. Dungy has collected one hundred and eighty poems by ninety-three poets. Her introduction radically enlarges the realm of eco-poetry as she considers the exclusion of African-American poets from the nature poetry genre while also exploring the complexity of their relationship with the land that witnessed or abetted centuries of racist subjugation.
Thought-provoking essays by Alice Walker, Marilyn Nelson, and others, introduce each of the ten sections in which I found a treasure trove of poets I’ve long admired, such as Rita Dove and Ross Gay, and poets I’ve never come across before, such as Kamilah Aisha Moon.
This book presents the natural world seen through the eyes of black poets. ""Black Nature"" is the first anthology to focus on nature writing by African American poets, a genre that until now has not commonly been counted as one in which African American poets have participated. Black poets have a long tradition of incorporating treatments of the natural world into their work, but it is often read as political, historical, or protest poetry - anything but nature poetry. This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the…
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.
