Here are 100 books that Suck on the Marrow fans have personally recommended if you like
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I care about social justice, equality, and history, as well as beauty and art. As an African-American woman who was raised working class and who understands how history informs the present, I have fallen in love with the depiction of history in poetry and prose. Not all of my writing has something to do with race or gender or class, but all of my writing is about justice in some way. I want to get to the good of people.
This is a biography of Mother Ann Lee, the woman who brought the Shaker Religion to Colonial America. Extensively researched and beautifully rendered, these poems grab you and bring you into eighteenth-century England and New England. It is also a celebration of motherhood, love, death, and grief, as well as of an early American woman in leadership. Sometimes deceptively soft, the movement and violence of Colonial America will snap the reader forward, inviting us to question our past.
I revisited Ross’ book when writing about historical figures, mostly real. In my book, I looked at some historical figures, including Tituba and Harriet Tubman, and found reading Seedlip and Sweet Apple a good primer in writing historical poetry.
Seamlessly bridging the material and spiritual worlds, Seedlip and Sweet Apple takes the reader into the mind of a true visionary: Mother Ann Lee, the founder of the Shaker religion in colonial America. With astonishingly original poems inspired by extensive historical research, Arra Lynn Ross creates a collection linked thematically through the voice and story of the woman who was believed by her followers to be Christ incarnate. Broadly and inclusively spiritual, this remarkable debut captures the ineffable experience of ecstatic vision, activating the progression from literal reality to heightened perception. Simultaneously, this journey delves into the manifold issues of…
I care about social justice, equality, and history, as well as beauty and art. As an African-American woman who was raised working class and who understands how history informs the present, I have fallen in love with the depiction of history in poetry and prose. Not all of my writing has something to do with race or gender or class, but all of my writing is about justice in some way. I want to get to the good of people.
Physically, a beautiful book. There are these drawings made with scratchboard illustrations and actual lace from a factory in Scranton, PA. The poems are gorgeous, whimsical pieces about a young woman in particular, but working women in general who produced lace.
Though historical, the factory did not close until 2002, and the building still stands. The book, however, is set in the past, in the 1930s, and follows a lesbian who works in the factory. I love the way that both Douaihy and Hermanson play with negative space, the white, and the dark of letters or lace.
Of course, I looked to this book for the historicity of it, and how Douaihy handled one character over time.
"Scranton Lace by Margot Douaihy combines tremendous lyric gifts-dense, nervy music, evocative images, an almost classically tragic sense of life's doomed blooming-with a gritty vernacularity that roots these poems in the rusted factory life of the title. Often formally playful but always brimming with emotion, using repetition in ways that evoke the ghostly graphics of lace woven through the book. Douaihy sings poetry's repertoire of love, loss, time and trial in keys that are wholly her own." -Joy Ladin "Margot Douaihy's Scranton Lace is a gorgeous meditation on place, on where we came from and what shapes and makes us.…
I care about social justice, equality, and history, as well as beauty and art. As an African-American woman who was raised working class and who understands how history informs the present, I have fallen in love with the depiction of history in poetry and prose. Not all of my writing has something to do with race or gender or class, but all of my writing is about justice in some way. I want to get to the good of people.
This book mixes personal poetry and history and art and space. It is a wonder! Smith looks at the Hubble Telescope and all of its marvels along with one of its engineers, her father Floyd Smith.
Smith mixes stars, David Bowie, mass shootings, love, racism, sexism all in this poetry collection and somehow, it works. It more than works. It explodes!
I don’t know if this work has much to do with my own; there is history, yes, and there is social commentary. But mostly, there is excellent poetry that is exemplary for any poet writing today.
In this brilliant collection of new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant and revisits kitschy concepts like 'love' and 'illness', now relegated to the museum of obsolescence. With allusions to David Bowie and interplanetary travel, Life on Mars imagines a soundtrack for the universe, accompanying the discoveries, failures and oddities of human existence and establishing Smith as one of the best poets of her generation.
I care about social justice, equality, and history, as well as beauty and art. As an African-American woman who was raised working class and who understands how history informs the present, I have fallen in love with the depiction of history in poetry and prose. Not all of my writing has something to do with race or gender or class, but all of my writing is about justice in some way. I want to get to the good of people.
These poems—most of every poem that Lee writes, really—do more than paint a picture. These poems appeal to every one of your senses. They are rich in description and you want to savor each one, sit with it, and let the poem envelop you.
I heard or read somewhere that Li-Young Lee is a slow writer, not producing a lot of work but always producing good work. I don’t know if this is true, and except for my greed of wanting to consume more of his words asap, I don’t mind that his poems are slower coming. I like to spend time with them.
I share Rose because Lee teaches me—and my students—that writers depend too much on visual imagery and fear spreading out into the other senses.
I. Epistle The Gift Persimmons The Weight Of Sweetness From Blossoms Dreaming Of Hair Early In The Morning Water Falling: The Code Nocturne My Indigo Irises Eating Alone
II. Always A Rose
III. Eating Together I Ask My Mother To Sing Ash, Snow, Or Moonlight The Life The Weepers Braiding Rain Diary My Sleeping Loved Ones Mnemonic Between Seasons Visions And Interpretations
At some point I decided that if I was going to teach US history, I better have a good sense of what the place looked like. So I drove across the country—and then back again—and then again, and then once more, each time at a different latitude. I drove through North Dakota and South Dakota, Montana and Idaho, Nebraska and Kansas, Arkansas and Oklahoma, Louisiana and Texas, up and down California, Oregon and Washington, and on and on. I got addicted to seeing the landscape in all its amazing variety and vastness, and seeing the landscape made the histories come alive.
I had always known that Oklahoma was home to the “Five Civilized Tribes,” but I had not known much about the enslaved people they brought West with them. Alaina Roberts weaves her own family’s history into the history of Indian Territory and the state of Oklahoma, and made me rethink what I knew about African Americans in the West.
Perhaps no other symbol has more resonance in African American history than that of "40 acres and a mule"-the lost promise of Black reparations for slavery after the Civil War. In I've Been Here All the While, we meet the Black people who actually received this mythic 40 acres, the American settlers who coveted this land, and the Native Americans whose holdings it originated from.
In nineteenth-century Indian Territory (modern-day Oklahoma), a story unfolds that ties African American and Native American history tightly together, revealing a western theatre of Civil War and Reconstruction, in which Cherokee, Choctaw, Chickasaw, Creek, and…
I have always been interested in family stories, the history of women’s lives, and history in general. Discovering new (at least it was at the time!) work in social and women’s history at university in the 1980s opened up new vistas for me and showed me it was possible to do academic work in the discipline in creative and challenging ways. These books were crucial to my development as a historian, both because of their subject matter and because they are so beautifully written. They brought the past “to life” for me and showed that historians could care about their subjects without sacrificing academic rigor.
I knew about the history of enslaved people and the institution of slavery in the Americas. Still, until I read Jones’ book, I did not appreciate how slavery affected African-American women’s lives in so many different ways, even after the institution itself formally ended.
I also gained a new understanding of their bravery, ingenuity, persistence, and contributions to their communities and American society more generally. Jones tells their stories with empathy and great wisdom, shattering stereotypes and insisting that we pay attention to these women and their lives.
The forces that shaped the institution of slavery in the American South endured, albeit in altered form, long after slavery was abolished. Toiling in sweltering Virginia tobacco factories or in the kitchens of white families in Chicago, black women felt a stultifying combination of racial discrimination and sexual prejudice. And yet, in their efforts to sustain family ties, they shared a common purpose with wives and mothers of all classes. In labour of Love, labour of Sorrow , historian Jacqueline Jones offers a powerful account of the changing role of black women, lending a voice to an unsung struggle from…
My family’s farm was lost due to a dishonest lawyer that my great-grandmother entrusted. Because of that, I have devoted the past 20 years of my career to providing low-cost legal services to aging rural farmers around estate planning and civil rights. As an attorney, I have worked for the US Department of Agriculture and the Office of Civil Rights in Washington DC. I also founded the non-profit organization F.A.R.M.S., which provides services to aging rural farmers such as preventing farm foreclosures, executing wills, and securing purchase contracts. After drafting Systematic Land Theft over the span of several years, I am happy to release this historic synopsis documenting the land theft of Indigenous and Black communities. I have written extensively on the topics of agriculture, environmental, and land injustice in a variety of legal, trade, and other publications.
This book uses census data and other historical facts to highlight the 250,000 free blacks who were in the south post-Civil War. It shows the struggles black people faced in regards to their community, liberty, education, and economic independence inside an oppressive society. Berlin does a good job at depicting the interaction between Blacks and Whites both free and enslaved. He offers a better understanding of the complex race relations that existed in the south. He gives one of the best accounts on record, of the wealth black people accumulated during slavery and 20 years after despite the pushback they faced.
The prize-winning classic volume by acclaimed historian Ira Berlin is now available in a handsome new edition, with a new preface by the author. It is a moving portrait of the quarter of a million free black men and women who lived in the South before the Civil War and describes the social and economic struggles that were part of life within this oppressive society. It is an essential work for both educators and general readers. Berlin's books have won many prizes and he is widely recognized as one of the leading scholars on slavery and African American life.
As a reader and writer, I am drawn to stories that have implications for the wider world. I love characters who are put in a box by others—whether based on race, religion, gender, or societal norms—yet they fight against those constraints, proving they have value beyond anyone’s expectations. I write historical fiction because I am an unabashed history nerd. I write Jewish (or Jewish adjacent) stories because I believe it is essential for every reader to find themselves in a book. I also believe it is essential that that same book opens a world of understanding to others.
I love stories that teach me something I didn’t know, even when it’s an ugly truth—especially when it’s an ugly truth. I studied History as an undergrad. I even wrote a paper on Sherman’s March to the Sea, but I’d never heard of Ebenezer’s Creek. In the midst of this shameful episode in the Civil War, Tonya Bolden gives us hope, truth, love, and utter cruelty. As heart-rending as this story is, I wanted to read it again immediately upon finishing it. Its honesty is as important as its poignancy.
When Mariah and her young brother Zeke are suddenly freed from slavery, they join Sherman's march through Georgia. Mariah wants to believe that the brutalities of slavery are behind them, but even as hope glimmers, there are many hardships yet to come. When she meets a free black named Caleb, Mariah dreams in a way she never dared . . . of a future worth living and the possibility of true love. But even hope comes at a cost, and as the difficult march continues toward the churning waters of Ebenezer Creek, Mariah's dreams are as vulnerable as ever.
I am a former children’s librarian who writes books for children and young adults. I love history, especially black history. We didn’t get much in school when I was a child, so I’ve been catching up on some of what I missed. I am particularly drawn to under-told stories about people who deserve more recognition for their contributions. I’m proud that some of those people are members of my own family.
Based on actual slave documents, Ashley Bryan, through his accomplished paintings and poetry, imagines the lives of eleven men and women sold at auction in 1828. We learn the market prices of the eleven, but Bryan goes deep, showing us the true value of each unique individual. The soul and spirit of this lovely book lay in the astounding resilience, the survival of hope and dreams in the hearts and minds of these enslaved people. Amidst the ugliness of slavery, Bryan manages to leave me uplifted, even joyful — joyful about the unwavering human belief in and desire for freedom.
Imagine being looked up and down and being valued as less than chair. Less than an ox. Less than a dress. Maybe about the same as...a lantern.
You, an object. An object to sell.
In his gentle yet deeply powerful way, Ashley Bryan goes to the heart of how a slave is given a monetary value by the slave owner, tempering this with the one thing that CAN'T be bought or sold-dreams. Inspired by the actual will of a plantation owner that lists the worth of each and every one of his "workers", Bryan has created collages around that document,…
I am a professor of history and Director of the Lawton M. Chiles Jr. Center for Florida History at Florida Southern College in Lakeland, Florida. I am a specialist in Southern, social, criminal justice, and legal history. I am the author or co-author of seven books, including three that address criminal justice at the state and federal level. My articles and reviews on criminal justice history have appeared in the America Historical Review, American Journal of Legal History, Journal of Southern History, Florida Historical Quarterly, Florida Bar Journal, and Georgia Historical Quarterly.
Philip J. Schwarz’s Twice Condemned adeptly analyzes the history of enslaved African Americans' relationship with the criminal courts of the Old Dominion from roughly 1700 to the end of the Civil War. Based on over four thousand trials from the colonial, early national, and antebellum periods, no other book does such a comprehensive job of analyzing the prevalence, longevity, and variety of behavior attributed to slave convicts. This book also provides a detailed picture of how one slave society evolved, and along the way, it uncovers previously unexamined aspects of slave culture, and of slave owners' attitudes toward the "domestic enemy" in their midst. Schwarz argues that the judicial system for slaves served two purposes: it helped slave owners control slaves and enabled authorities to sanction criminal behavior. This dual function of slave trials mirrored the two kinds of slaves' behavior judges tried to suppress.
Schwarz, Philip J. Twice Condemned: Slaves and the Criminal Laws of Virginia, 1705-1865. [Baton Rouge: Louisiana State University Press]. [1988]. xvi, 354pp. Reprinted 1998 by The Lawbook Exchange, Ltd. LCCN 98-4424 Hardcover. New. Analyzes the history of enslaved African Americans' relationship with the criminal courts of the Old Dominion during a 160 year period. Before Twice Condemned was first published in 1988, historians often focused primarily on isolated or dramatic examples of the sometimes deadly conflict present in societies based on slave labor. But Twice Condemned analyzes the prevalence, longevity, and variety of behavior attributed to slave convicts. In doing…
