Deep in the heartland of the United Sentry States are the burning ruins of the Black City, a melting pot simmering with hostility as humans and Darklings struggle to rebuild their lives in the aftermath of a brutal and bloody war. A wall now divides the city separating the two races. Trapped on the wrong side of the wall is 16 year old hustler Ash Fisher, a half blood darkling who'll do whatever it takes to survive, including selling his addictive venom Haze to support his dying mother. When he meets Natalie, hatred soon turns to a love that could be punishable by death.

An important new ethnographic study of São Paulo’s favelas revealing the widespread use of race-based police repression in Brazil While Black Lives Matter still resonates in the United States, the movement has also become a potent rallying call worldwide, with harsh police tactics and repressive state policies often breaking racial lines. In The Anti-Black City, Jaime Amparo Alves delves into the dynamics of racial violence in Brazil, where poverty, unemployment, residential segregation, and a biased criminal justice system create urban conditions of racial precarity. The Anti-Black City provocatively offers race as a vital new lens through which to view violence and marginalization in the supposedly “raceless” São Paulo. Ironically, in a context in which racial ambiguity makes it difficult to identify who is black and who is white, racialized access to opportunities and violent police tactics establish hard racial boundaries through subjugation and death. Drawing on two years of ethnographic research in prisons and neighborhoods on the periphery of this mega-city, Alves documents the brutality of police tactics and the complexity of responses deployed by black residents, including self-help initiatives, public campaigns against police violence, ruthless gangs, and self-policing of communities. The Anti-Black City reveals the violent and racist ideologies that underlie state fantasies of order and urban peace in modern Brazil. Illustrating how “governing through death” has become the dominant means for managing and controlling ethnic populations in the neoliberal state, Alves shows that these tactics only lead to more marginalization, criminality, and violence. Ultimately, Alves’s work points to a need for a new approach to an intractable problem: how to govern populations and territories historically seen as “ungovernable.”

In this nuanced and groundbreaking history, Donna Murch argues that the Black Panther Party (BPP) started with a study group. Drawing on oral history and untapped archival sources, she explains how a relatively small city with a recent history of African

While Washington, D.C., is still often referred to as "Chocolate City," it has undergone significant demographic, political, and economic change in the last decade. In D.C., no place represents this shift better than the H Street corridor. In this book, Brandi Thompson Summers documents D.C.'s shift to a "post-chocolate" cosmopolitan metropolis by charting H Street's economic and racial developments. In doing so, she offers a theoretical framework for understanding how blackness is aestheticized and deployed to organize landscapes and raise capital. Summers focuses on the continuing significance of blackness in a place like the nation's capital, how blackness contributes to our understanding of contemporary urbanization, and how it laid an important foundation for how Black people have been thought to exist in cities. Summers also analyzes how blackness—as a representation of diversity—is marketed to sell a progressive, "cool," and authentic experience of being in and moving through an urban center. Using a mix of participant observation, visual and media analysis, interviews, and archival research, Summers shows how blackness has become a prized and lucrative aesthetic that often excludes D.C.'s Black residents.

The deliberate devaluation of Blacks and their communities has had very real, far-reaching, and negative economic and social effects. An enduring white supremacist myth claims brutal conditions in Black communities are mainly the result of Black people's collective choices and moral failings. “That's just how they are” or “there's really no excuse”: we've all heard those not so subtle digs. But there is nothing wrong with Black people that ending racism can't solve. We haven't known how much the country will gain by properly valuing homes and businesses, family structures, voters, and school districts in Black neighborhoods. And we need to know. Noted educator, journalist, and scholar Andre Perry takes readers on a tour of six Black-majority cities whose assets and strengths are undervalued. Perry begins in his hometown of Wilkinsburg, a small city east of Pittsburgh that, unlike its much larger neighbor, is struggling and failing to attract new jobs and industry. Bringing his own personal story of growing up in Black-majority Wilkinsburg, Perry also spotlights five others where he has deep connections: Detroit, Birmingham, New Orleans, Atlanta, and Washington, D.C. He provides an intimate look at the assets that should be of greater value to residents—and that can be if they demand it. Perry provides a new means of determining the value of Black communities. Rejecting policies shaped by flawed perspectives of the past and present, it gives fresh insights on the historical effects of racism and provides a new value paradigm to limit them in the future. Know Your Price demonstrates the worth of Black people's intrinsic personal strengths, real property, and traditional institutions. These assets are a means of empowerment and, as Perry argues in this provocative and very personal book, are what we need to know and understand to build Black prosperity.

Macelle Mahala’s rich study of contemporary African American theater institutions reveals how they reflect and shape the histories and cultural realities of their cities. Arguing that the community in which a play is staged is as important to the work’s meaning as the script or set, Mahala focuses on four cities’ “arts ecologies” to shed new light on the unique relationship between performance and place: Cleveland, home to the oldest continuously operating Black theater in the country; Pittsburgh, birthplace of the legendary playwright August Wilson; San Francisco, a metropolis currently experiencing displacement of its Black population; and Atlanta, a city with forty years of progressive Black leadership and reverse migration. Black Theater, City Life looks at Karamu House Theatre, the August Wilson African American Cultural Center, Pittsburgh Playwrights’ Theatre Company, the Lorraine Hansberry Theatre, the African American Shakespeare Company, the Atlanta Black Theatre Festival, and Kenny Leon’s True Colors Theatre Company to demonstrate how each organization articulates the cultural specificities, sociopolitical realities, and histories of African Americans. These companies have faced challenges that mirror the larger racial and economic disparities in arts funding and social practice in America, while their achievements exemplify such institutions’ vital role in enacting an artistic practice that reflects the cultural backgrounds of their local communities. Timely, significant, and deeply researched, this book spotlights the artistic and civic import of Black theaters in American cities.

In Black City Cinema, Paula Massood shows how popular films reflected the massive social changes that resulted from the Great Migration of African Americans from the rural South to cities in the North, West, and Mid-West during the first three decades of the twentieth century. By the onset of the Depression, the Black population had become primarily urban, transforming individual lives as well as urban experience and culture.Massood probes into the relationship of place and time, showing how urban settings became an intrinsic element of African American film as Black people became more firmly rooted in urban spaces and more visible as historical and political subjects. Illuminating the intersections of film, history, politics, and urban discourse, she considers the chief genres of African American and Hollywood narrative film: the black cast musicals of the 1920s and the "race" films of the early sound era to blaxploitation and hood films, as well as the work of Spike Lee toward the end of the century. As it examines such a wide range of films over much of the twentieth century, this book offers a unique map of Black representations in film.