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The South Side
**One of Buzzfeed's 18 Best Nonfiction Books Of 2016** A lyrical, intelligent, authentic, and necessary look at the intersection of race and class in Chicago, a Great American City In this intelligent and highly important narrative, Chicago-native Natalie Moore shines a light on contemporary segregation in the city's South Side; with a memoirist's eye, she showcases the lives of these communities through the stories of people who reside there. The South Side shows the impact of Chicago's historic segregation - and the ongoing policies that keep the system intact.
The Billboard
The Billboard is about a fictional Black women’s clinic in Chicago’s Englewood neighborhood on the South Side and its fight with a local gadfly running for City Council who puts up a provocative billboard: “Abortion is genocide. The most dangerous place for a Black child is his mother’s womb,” spurring on the clinic to fight back with their own provocative sign: “Black women take care of their families by taking care of themselves. Abortion is self-care. #Trust Black Women.” The book also has a foreword and afterword and Q&A with a founder of reproductive justice. As a play and book, The Billboard is a cultural force that treats abortion as more than pro-life or pro-choice.
Conversations with Jesmyn Ward
Jesmyn Ward (b. 1977) is arguably one of today’s most important authors. Although often compared to William Faulkner, Ward and her writings have done anything but live in that shadow since the 2008 debut of her first novel Where the Line Bleeds. She has produced four novels and a memoir that are equally harrowing and heartening, and she is the recipient of numerous major literary awards and fellowships, including two National Book Awards, for Salvage the Bones (2011) and Sing, Unburied, Sing (2017). Spanning from 2009 to the present, the interviews collected in Conversations with Jesmyn Ward display a master artist with a poetic command for words. Ward’s personality and writing style cou...
Applied Theatre and Gender Justice
Applied Theatre and Gender Justice is a collection of essays highlighting the value and efficacy of using applied theatre to address gender in a broad range of settings, identifying challenges, and offering concrete best practices. This book amplifies and shares lessons from practitioners and scholars who use performance to create models of collective solidarity, building upon communities’ strengths toward advocating for justice and equity. The book is divided into thematic sections, comprising three essays addressing a range of questions about the challenges, learning opportunities, and benefits of applied theatre practices. Further exploring the themes, issues, and ideas, each section en...
The Assassination of Fred Hampton
Originally published: Chicago, Ill.: Chicago Review Press, c2010.
Who Reads Poetry
In 2012, to celebrate the centennial of Poetry, the Press published The Open Door:100 Poems,100 Years of Poetry Magazine, edited by Share and Wiman; that is the model for this new anthology of fifty essays about reading poetry. All were commissioned by Poetry for a column called The View From Here, in which people "from outside the world of poetry" are invited to describe when and why they read poetry. The editors sought contributions from philosophers and journalists, musicians and artists, doctors and soldiers, an iron-worker, a lawyer, anthropologist, economist, and politician. Contributors include Neko Case, Roger Ebert, Richard Rorty, Rhymefest, Lynda Barry, Daniel Handler, and Alex Ross. They have arranged the essays in groups and pulled out quotes to open each of the eight sections as a way to suggest themes without trying to prescribe how the pieces should be read. Each essay retains its own voice, and many are surprising, provocative, touching, or funny.
The Sixteenth Round
The survivor of a difficult childhood and youth, Rubin Carter rose to become a top contender for the middleweight boxing crown. But his career crashed to a halt on May 26, 1967, when he and another man were found guilty of the murder of three white people in a New Jersey bar. While in prison, Carter chronicled the events that led him from the ring to three consecutive life sentences and 10 years in solitary confinement. His story was a cry for help to the public, an attempt to set the record straight and force a new trial. Bob Dylan wrote a classic anthem for Carter's struggle; and Joan Baez, Muhammad Ali, Roberta Flack, and thousands more took up the cause as well. Originally published in 1974, this account is an eye-opening examination of growing up black in America, problems in the United States prison system, and Carter's own battles.
Race Capital?
For close to a century, Harlem has been the iconic black neighborhood widely seen as the heart of African American life and culture, both celebrated as the vanguard of black self-determination and lamented as the face of segregation. But with Harlem’s demographic, physical, and commercial landscapes rapidly changing, the neighborhood’s status as a setting and symbol of black political and cultural life looks uncertain. As debate swirls around Harlem’s present and future, Race Capital? revisits a century of the area’s history, culture, and imagery, exploring how and why it achieved its distinctiveness and significance and offering new accounts of Harlem’s evolving symbolic power. In...
South Side Impresarios
Between the world wars, Chicago Race women nurtured a local yet widely resonant Black classical music community entwined with Black civic life. Samantha Ege tells the stories of the Black women whose acumen and energy transformed Chicago’s South Side into a wellspring of music making. Ege focuses on composers like Florence Price, Nora Holt, and Margaret Bonds not as anomalies but as artists within an expansive cultural flowering. Overcoming racism and sexism, Black women practitioners instilled others with the skill and passion to make classical music while Race women like Maude Roberts George, Estella Bonds, Neota McCurdy Dyett, and Beulah Mitchell Hill built and fostered institutions central to the community. Ege takes readers inside the backgrounds, social lives, and female-led networks of the participants while shining a light on the scene’s audiences, supporters, and training grounds. What emerges is a history of Black women and classical music in Chicago and the still-vital influence of the world they created. A riveting counter to a history of silence, South Side Impresarios gives voice to an overlooked facet of the Black Chicago Renaissance.
Ebony
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