Here are 100 books that The Black Atlantic fans have personally recommended if you like
The Black Atlantic.
Shepherd is a community of 11,000+ authors and super readers sharing their favorite books with the world.
Shepherd is reader supported. When you buy books, we may earn an affiliate commission.
Music has always spoken to my innermost being, and coming of age in the late 1960s, I’ve been drawn to the quest for justice and equality in politics. In my undergraduate studies at Berkeley, the late political theorist Michael Rogin, who interpreted Moby Dick as a parable of 19th Century race relations, taught me that my two interests could be combined. As a professor of Political Science I’ve written books and articles that explore music’s ability to express ideas about politics, race, and ethnicity in sometimes unappreciated ways.
In this utterly unique book, Small contends that music does not consist of “works” but is rather an activity called “musicking” that enacts relationships – between sounds but also among the participants, including the audience. Through musicking we learn about ourselves in relationship to others, and that relationship can be one of submission (sitting quietly listening to an orchestra) or equality (jazz musicians improvising in response to each other while the audience shouts encouragement). In Small’s view, African American music enacts democratic relationships, in which all participate as equals, and individuality is enhanced rather than hindered by group solidarity.
In clear and elegant prose, Music of the Common Tongue, first published in 1987, argues that by any reasonable reckoning of the function of music in human life the African American tradition, that which stems from the collision between African and European ways of doing music which occurred in the Americas and the Caribbean during and after slavery, is the major western music of the twentieth century. In showing why this is so, the author presents not only an account of African American music from its origins but also a more general consideration of the nature of the music act…
Music has always spoken to my innermost being, and coming of age in the late 1960s, I’ve been drawn to the quest for justice and equality in politics. In my undergraduate studies at Berkeley, the late political theorist Michael Rogin, who interpreted Moby Dick as a parable of 19th Century race relations, taught me that my two interests could be combined. As a professor of Political Science I’ve written books and articles that explore music’s ability to express ideas about politics, race, and ethnicity in sometimes unappreciated ways.
This punningly-titled book is an act of historical excavation, uncovering the hundreds of all-female swing bands that have been erased from jazz history. But Tucker goes beyond this, asking how the lenses of gender, race, class, and sexuality affected how these bands were seen and heard and, equally important, how they forged their destinies within those constraints. They had difficulties to overcome – wearing gowns that made it more difficult to play and caused them to be taken less seriously as musicians, and risking arrest by having white members “passing” as Black in the South. But Tucker’s “counternarrative” shows how these bands found creative ways to evade such barriers, by using stereotypes of femininity and masculinity to their advantage or presenting themselves as “international” to push against the color line.
The forgotten history of the "all-girl" big bands of the World War II era takes center stage in Sherrie Tucker's Swing Shift. American demand for swing skyrocketed with the onslaught of war as millions-isolated from loved ones-sought diversion, comfort, and social contact through music and dance. Although all-female jazz and dance bands had existed since the 1920s, now hundreds of such groups, both African American and white, barnstormed ballrooms, theaters, dance halls, military installations, and makeshift USO stages on the home front and abroad. Filled with firsthand accounts of more than a hundred women who performed during this era and…
As a scholar as well as performer of the African American creative improvised music usually called jazz, my attunement to this art form resonates with its historico-cultural matrix as much as with the sounds themselves. These books distinguish themselves for being well-researched and rigorous. They are the real deal, doing justice to the heart as well as the intellect of this art form.
Based on extensive personal interviews with some of the most impactful musicians in jazz, Dr. Monson demonstrates how the supremely interactive nature of jazz improvisation is based on the oral and aural traditions of African American vernacular speech. It therefore demonstrates the way that music, language, and other aspects of culture intrinsically form a unified complex whole.
In this work, Ingrid Monson juxtaposes musicians' talk and musical examples to ask how musicians go about "saying something" through music in a way that articulates identity, politics, and race. Through interviews with Jaki Byard, Richard Davis, Sir Roland Hanna, Billy Higgins, Cecil McBee, and others, she develops a perspective on jazz improvisation that has "interactiveness" at its core, in the creation of music through improvisational interaction, in the shaping of social communities and networks through music, and in the development of cultural meanings and ideologies that inform the interpretation of jazz in twentieth-century American cultural life.
Music has always spoken to my innermost being, and coming of age in the late 1960s, I’ve been drawn to the quest for justice and equality in politics. In my undergraduate studies at Berkeley, the late political theorist Michael Rogin, who interpreted Moby Dick as a parable of 19th Century race relations, taught me that my two interests could be combined. As a professor of Political Science I’ve written books and articles that explore music’s ability to express ideas about politics, race, and ethnicity in sometimes unappreciated ways.
Although not about jazz or even music, this rich text provides a foundation for thinking about jazz democratically and has influenced some of the above-mentioned authors. Bakhtin argues that artworks have the potential to put multiple voices in conversation with one another without resolving them to a single point of view. The epitome of such artworks was what he called, using a musical metaphor, the “polyphonic novel” pioneered by Dostoevsky. Such artworks embody and encourage a “broadening of consciousness,” an openness to the voices of others that is the essence of democracy at its best.
This book is not only a major twentieth-century contribution to Dostoevsky's studies, but also one of the most important theories of the novel produced in our century. As a modern reinterpretation of poetics, it bears comparison with Aristotle."Bakhtin's statement on the dialogical nature of artistic creation, and his differentiation of this from a history of monological commentary, is profoundly original and illuminating. This is a classic work on Dostoevsky and a statement of importance to critical theory." Edward Wasiolek"Concentrating on the particular features of 'Dostoevskian discourse,' how Dostoevsky structures a hero and a plot, and what it means to write…
As a children's book writer, I want my books to be infused with S.T.E.A.M (science, technology, engineering, art, and science), imaginative adventure, and empowering words. These 3 elements are important for cultivating their minds. Great inventions and discoveries have come from people who were curious. I believe that it's our responsibility as parents to expose them to new interests and speak empowering words to their developing minds. Parents play a key role in how their children see themselves. I hope that my books encourage unity, spark the imagination, build strong parent-child relationships, initiate dialogue, and promote learning.
"Long before you took your place in this world, you were dreamed of, like a knapsack full of wishes, carried on the backs of your ancestors as they created empires, pyramids, legacies."
The lyrical reading gives appreciation and celebrates the importance of being acknowledged. Despite the challenges a child may face, they need to know that they matter. As a parent, we are our child's #1 fan and cheerleader. How do you let your child know that they matter? This book embodies this message and delivers it with grace. Plant these powerful words in the mind of your child.
A lyrical, heart-lifting love letter to black and brown children everywhere. Discover this poignant, timely and emotionally stirring picture book, an ode to black and brown children everywhere that is full of hope, assurance and love.
Tami Charles pens a poetic, lyrical text that is part love letter, part anthem, assuring readers that they always have, and always will, matter.
Accompanied by illustrations by renowned artist Bryan Collier, All Because You Matter empowers readers with pride, joy and comfort, reminding them of their roots and strengthening them for the days to come.
Nobody’s Magicbegan, not as the series of novellas it became, but as a collection of stories I couldn’t stop telling. And it wasn’t just my characters’ comings and goings that enthralled me. It was the way they demanded I let them tell their own stories. I enjoy reading and writing novellas because they allow space for action, voice, and reflection, and they can tackle manifold themes and conversations in a space that is both large and small. At the same time, they demand endings that are neither predictable nor neat, but rather force the reader to speculate on what becomes of these characters they’ve come to know and love.
Every time someone asks me whether I, a Black woman with albinism, would have ever considered passing for white, I think of the unnamed protagonist of this book and his conflicting desires to uplift his own race while also escaping the dangers of being a Black man at the height of America’s obsession with lynching. (And let’s be honest, he also enjoys the social privilege and upward mobility that come with being mistaken for white.) Of course, the title tells us which choice he’s going to make long before we read it for ourselves, but I was still unprepared for the gutting last lines of this book. It is a master class in telling the story of the backward glance, and in what one loses by trying to save himself.
James Weldon Johnson's The Autobiography of an Ex-Colored Man is a powerful, trailblazing novel that exposes the intricate relationship between race and class in late nineteenth-century America.
Complete & Unabridged. Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket-sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition is introduced by Dr Sam Halliday.
After losing his mother at a very young age, the narrator is thrust from his comfortable, middle-class environment, afforded by his distant but aristocratic father, into the wider world.…
When I was eight, my mother was called in to see the principal…yet again. He pulled me out of class, stood me in the hall for maximum intimidation value, then said to my mom, “Your son has no respect for authority.” Mom asked, “What about that, Larry?” My reply—and this is totally true—was, “He doesn’t mean respect. He means courtesy. You can demand courtesy, but you have to earn respect.” Those sentiments have not changed, which is why, I suppose, I have an extremely critical eye for history, especially American history, that deifies the winners. I don’t think we make ourselves stronger as a nation by pretending our leaders were somehow not as human in their flaws as the rest of us. I prefer to look under what is called “conventional wisdom,” because that’s where the real story often lies.
Henry Louis Gates, Jr. is a renowned Harvard professor and author of a series of deeply insightful books on African American history. He has also become one of the most recognizable public figures in the nation, from the PBS series Finding Your Roots and Reconstruction to a cameo in Watchmen in which he played the United States Treasury Secretary. It can be easy to forget that “Skip” Gates was raised in the hills of West Virginia, part of a tight-knit, quirky, distinctly African American community. In Gates’ affectionate memoir detailing his growing up, a series of fascinating characters leap from the page—some Churchgoing, some anything but; some strait-laced; some definitely not; some ambitious, some content to do as little as possible to get by. Everyone we meet in Colored People is both recognizable and a revelation, and Gates has created a moving and nostalgic look at African American culture that…
A re-creation of what it was like to grow up in the hill town of Piedmont, West Virginia, in the 1950s and 1960s. Recalling an age at which the town and people represented his known universe, Gates describes the clannish pride of the family and the sense of place that characterized Piedmont, with its beautiful countryside, its paper mill, whose sulphurous fumes permeated the air but brought the town its prosperity, and the social event of the year, the annual mill picnic. The young Gates's consciousness takes in "colored people" in a time when segregation was still influential. He tells…
She really gets at the heart of how Brown and Black bodies are seen, and what is fascinating to me is the approach through current “technical art” and a good discussion of architecture. I had a class focus on her discussion—lengthy—about surveillance and race. It’s extremely poignant, and something whites especially just don’t think about. I will never again go through an airport without thinking about her book.
In Dark Matters Simone Browne locates the conditions of blackness as a key site through which surveillance is practiced, narrated, and resisted. She shows how contemporary surveillance technologies and practices are informed by the long history of racial formation and by the methods of policing black life under slavery, such as branding, runaway slave notices, and lantern laws. Placing surveillance studies into conversation with the archive of transatlantic slavery and its afterlife, Browne draws from black feminist theory, sociology, and cultural studies to analyze texts as diverse as the methods of surveilling blackness she discusses: from the design of the…
I am an African Australian writer and have a deep passion for black people's stories. I write across genres and forms, and my award-winning works are mostly Afrocentric. I have a master's degree in distributed computer systems, with distinction, a master's degree in creative writing, and a PhD in creative writing. I am especially curious about unique voices in black speculative fiction in transformative stories of culture, diversity, climate change, writing the other, and betwixt. I am an author of several novels and fiction collections, and a finalist in the 2022 World Fantasy Award. I was announced in the honor list of the 2022 Otherwise Fellowships for ‘doing exciting work in gender and speculative fiction’.
Dominion is a unique black speculative fiction that integrates stories from prominent voices from Africa and the diaspora, including Suyi Davies Okungbowa, Dare Segun Falowo, Mame Bougouma Diene, Dilma Dila, and more. Featuring a foreword by Tananarive Due, the award-winning anthology offers African spirituality, magical realism, Afrofuturistic stories, dystopian worlds and tales that confront in many ways colonialism, social injustice, and capitalism.
Dominion is the first anthology of speculative fiction and poetry by Africans and the African Diaspora. An old god rises up each fall to test his subjects. Once an old woman's pet, a robot sent to mine an asteroid faces an existential crisis. A magician and his son time-travel to Ngoni country and try to change the course of history. A dead child returns to haunt his grieving mother with terrifying consequences. Candace, an ambitious middle manager, is handed a project that will force her to confront the ethical ramifications of her company's latest project—the monetization of human memory. Osupa,…
I was born and raised in Nyack, New York, and all of my degrees are from colleges and universities in New York. I have always been interested in race relations in America and understanding their causes and consequences. Hope and despair are two themes that run through the experiences of people of African ancestry in America. The books I selected include fiction and nonfiction works that highlight promises made and promises unfulfilled.
I think WEB DuBois is one of the greatest scholars ever to live. I recommend this book because DuBois eloquently tackles some of American society's greatest challenges. I like that DuBois is not satisfied with contemporary explanations about racial inequities. I am grateful to DuBois for encouraging American society to explore the roles of race and racism and explaining the experiences of people of African ancestry in America.
The Souls of Black Folk: Essays and Sketches is a 1903 work of American literature by W. E. B. Du Bois. It is a seminal work in the history of sociology and a cornerstone of African-American literature.
The book contains several essays on race, some of which had been published earlier in The Atlantic Monthly. To develop this work, Du Bois drew from his own experiences as an African American in American society. Outside of its notable relevance in African-American history, The Souls of Black Folk also holds an important place in social science as one of the early works…
