The politics of black education has long been a key issue in southern African studies, but despite rich debates on the racial and class dimensions of schooling, historians have neglected their distinctive gendered dynamics. A World of Their Own is the first book to explore the meanings of black women’s education in the making of modern South Africa. Its lens is a social history of the first high school for black South African women, Inanda Seminary, from its 1869 founding outside of Durban through the recent past. Employing diverse archival and oral historical sources, Meghan Healy-Clancy reveals how educated black South African women developed a tradition of social leadership, by both working within and pushing at the boundaries of state power. She demonstrates that although colonial and apartheid governance marginalized women politically, it also valorized the social contributions of small cohorts of educated black women. This made space for growing numbers of black women to pursue careers as teachers and health workers over the course of the twentieth century. After the student uprisings of 1976, as young black men increasingly rejected formal education for exile and street politics, young black women increasingly stayed in school and cultivated an alternative form of student politics. Inanda Seminary students’ experiences vividly show how their academic achievements challenged the narrow conceptions of black women’s social roles harbored by both officials and black male activists. By the transition to democracy in the early 1990s, black women outnumbered black men at every level of education—introducing both new opportunities for women and gendered conflicts that remain acute today.

One hundred and forty years before Gerda Lerner established women’s history as a specialized field in 1972, a small group of women began to claim American Indian history as their own domain. A Field of Their Own examines nine key figures in American Indian scholarship to reveal how women came to be identified with Indian history and why they eventually claimed it as their own field. From Helen Hunt Jackson to Angie Debo, the magnitude of their research, the reach of their scholarship, the popularity of their publications, and their close identification with Indian scholarship makes their invisibility as pioneering founders of this specialized field all the more intriguing. Reclaiming this lost history, John M. Rhea looks at the cultural processes through which women were connected to Indian history and traces the genesis of their interest to the nineteenth-century push for women’s rights. In the early 1830s evangelical preachers and women’s rights proponents linked American Indians to white women’s religious and social interests. Later, pre-professional women ethnologists would claim Indians as a special political cause. Helen Hunt Jackson’s 1881 publication, A Century of Dishonor, and Alice Fletcher’s 1887 report, Indian Education and Civilization, foreshadowed the emerging history profession’s objective methodology and established a document-driven standard for later Indian histories. By the twentieth century, historians Emma Helen Blair, Louise Phelps Kellogg, and Annie Heloise Abel, in a bid to boost their professional status, established Indian history as a formal specialized field. However, enduring barriers continued to discourage American Indians from pursuing their own document-driven histories. Cultural and academic walls crumbled in 1919 when Cherokee scholar Rachel Caroline Eaton earned a Ph.D. in American history. Eaton and later Indigenous historians Anna L. Lewis and Muriel H. Wright would each play a crucial role in shaping Angie Debo’s 1940 indictment of European American settler colonialism, And Still the Waters Run. Rhea’s wide-ranging approach goes beyond existing compensatory histories to illuminate the national consequences of women’s century-long predominance over American Indian scholarship. In the process, his thoughtful study also chronicles Indigenous women’s long and ultimately successful struggle to transform the way that historians portray American Indian peoples and their pasts.

Creating Their Own Image marks the first comprehensive history of African-American women artists, from slavery to the present day. Using an analysis of stereotypes of Africans and African-Americans in western art and culture as a springboard, Lisa E. Farrington here richly details hundreds ofimportant works--many of which deliberately challenge these same identity myths, of the carnal Jezebel, the asexual Mammy, the imperious Matriarch--in crafting a portrait of artistic creativity unprecedented in its scope and ambition. In these lavishly illustrated pages, some of which feature imagesnever before published, we learn of the efforts of Elizabeth Keckley, fashion designer to Mary Todd Lincoln; the acclaimed sculptor Edmonia Lewis, internationally renowned for her neoclassical works in marble; and the artist Nancy Elizabeth Prophet and her innovative teaching techniques. We meetLaura Wheeler Waring who portrayed women of color as members of a socially elite class in stark contrast to the prevalent images of compliant maids, impoverished malcontents, and exotics "others" that proliferated in the inter-war period. We read of the painter Barbara Jones-Hogu's collaboration onthe famed Wall of Respect, even as we view a rare photograph of Hogu in the process of painting the mural. Farrington expertly guides us through the fertile period of the Harlem Renaissance and the "New Negro Movement," which produced an entirely new crop of artists who consciously imbued their workwith a social and political agenda, and through the tumultuous, explosive years of the civil rights movement. Drawing on revealing interviews with numerous contemporary artists, such as Betye Saar, Faith Ringgold, Nanette Carter, Camille Billops, Xenobia Bailey, and many others, the second half ofCreating Their Own Image probes more recent stylistic developments, such as abstraction, conceptualism, and post-modernism, never losing sight of the struggles and challenges that have consistently influenced this body of work. Weaving together an expansive collection of artists, styles, andperiods, Farrington argues that for centuries African-American women artists have created an alternative vision of how women of color can, are, and might be represented in American culture. From utilitarian objects such as quilts and baskets to a wide array of fine arts, Creating Their Own Imageserves up compelling evidence of the fundamental human need to convey one's life, one's emotions, one's experiences, on a canvas of one's own making.

Letters, postcards, notes and telegraphs from the great and the good, the notorious and the downright wicked, shine a spotlight on a range of historical events and movements providing an immediate link to the immediate and much more distant past. The book includes letters from: Sir Arthur Conan Doyle, Mikhail Gorbachev, Lucien Freud, Barbara Hepworth, Nelson Mandela, Caitlin Thomas, Mary Whitehouse, Gandhi, George Washington among many others. Subjects covered include suffragette disturbances, obscene publications, relations between international leaders, child emigration including the Kindertransport. The book features 55 letters, each with a 600-word essay, and a 3000 word introduction. There are 150 images in the book: 55 of the letters themselves, and a further 95 supplementary images.

American history told from the bottom up by Howard Zinn himself—and the perfect all-ages introduction to his eye-opening viewpoint, published on Zinn’s hundredth birthday Truth Has a Power of Its Own is an engrossing collection of conversations with the late Howard Zinn and “an eloquently hopeful introduction for those who haven’t yet encountered Zinn’s work” (Booklist). Here is an unvarnished, yet ultimately optimistic, tour of American history—told by someone who was often an active participant in it. Viewed through the lens of Zinn’s own life as a soldier, historian, and activist and using his paradigm-shifting A People’s History of the United States as a point of departure, these conversations explore the American Revolution, the Civil War, the labor battles of the nineteenth and twentieth centuries, U.S. imperialism from the Indian Wars to the War on Terrorism, World Wars I and II, the Cold War, and the fight for equality and immigrant rights—all from an unapologetically radical standpoint. Longtime admirers and a new generation of readers alike will be fascinated to learn about Zinn’s thought processes, rationale, motivations, and approach to his now-iconic historical work. Zinn’s humane (and often humorous) voice—along with his keen moral vision—shine through every one of these lively and thought-provoking conversations. Battles over the telling of our history still rage across the country, and there’s no better person to tell it than Howard Zinn.

A December Stephen Curry Book Club Pick One of ESPN’s 25 Can’t Miss Books of 2019 “A feel-good story.”—New York Times Book Review “This isn’t simply a sports book. Rather, it’s a book about inspiring and courageous women who just happened to be hockey players.”—Korea Times The inspiring, unlikely story of the American, Canadian, South Korean and even North Korean women who joined together to form Korea’s first Olympic ice hockey team. Two weeks before the opening ceremony of the 2018 Winter Olympics, South Korea’s women’s hockey team was forced into a predicament that no president, ambassador or general had been able to resolve in the sixty-five years since the end of the Korean War. Against all odds, the group of young women were able to bring North and South Korea closer than ever before. The team was built for this moment. They had been brought together from across the globe and from a wide variety of backgrounds—concert pianist, actress, high school student, convenience store worker—to make history. Now the special kinship they had developed would guide them through the biggest challenge of their careers. Suddenly thrust into an international spotlight, they showed the powerful meaning of what a unified Korea could resemble. In A Team of Their Own, Seth Berkman goes behind the scenes to tell the story of these young women as they became a team amid immense political pressure and personal turmoil, and ultimately gained worldwide acceptance on a journey that encapsulates the truest meanings of sport and family.

A look at Black History framed by those who made it. BLACK HISTORY IN ITS OWN WORDS presents quotes of dozens of black luminaries with portraits & illustrations by RONALD WIMBERLY. Featuring the memorable words and depictions of Angela Davis, Jean-Michel Basquiat, Kanye West, Zadie Smith, Ice Cube, Dave Chappelle, James Baldwin, Spike Lee, and more.