Black France, White Europe illuminates the deeply entangled history of European integration and African decolonization. Emily Marker maps the horizons of belonging in postwar France as leaders contemplated the inclusion of France's old African empire in the new Europe-in-the-making. European integration intensified longstanding structural contradictions of French colonial rule in Africa: Would Black Africans and Black African Muslims be French? If so, would they then also be European? What would that mean for republican France and united Europe more broadly? Marker examines these questions through the lens of youth, amid a surprising array of youth and education initiatives to stimulate imperial renewal and European integration from the ground up. She explores how education reforms and programs promoting solidarity between French and African youth collided with transnational efforts to make young people in Western Europe feel more European. She connects a particular postwar vision for European unity—which coded Europe as both white and raceless, Christian and secular—to crucial decisions about what should be taught in African classrooms and how many scholarships to provide young Africans to study and train in France. That vision of Europe also informed French responses to African student activism for racial and religious equality, which ultimately turned many young francophone Africans away from France irrevocably. Black France, White Europe shows that the interconnected history of colonial and European youth initiatives is key to explaining why, despite efforts to strengthen ties with its African colonies in the 1940s and 1950s, France became more European during those years.

Black France, White Europe illuminates the deeply entangled history of European integration and African decolonization. Emily Marker maps the horizons of belonging in postwar France as leaders contemplated the inclusion of France's old African empire in the new Europe-in-the-making. European integration intensified longstanding structural contradictions of French colonial rule in Africa: Would Black Africans and Black African Muslims be French? If so, would they then also be European? What would that mean for republican France and united Europe more broadly? Marker examines these questions through the lens of youth, amid a surprising array of youth and education initiatives to stimulate imperial renewal and European integration from the ground up. She explores how education reforms and programs promoting solidarity between French and African youth collided with transnational efforts to make young people in Western Europe feel more European. She connects a particular postwar vision for European unity—which coded Europe as both white and raceless, Christian and secular—to crucial decisions about what should be taught in African classrooms and how many scholarships to provide young Africans to study and train in France. That vision of Europe also informed French responses to African student activism for racial and religious equality, which ultimately turned many young francophone Africans away from France irrevocably. Black France, White Europe shows that the interconnected history of colonial and European youth initiatives is key to explaining why, despite efforts to strengthen ties with its African colonies in the 1940s and 1950s, France became more European during those years.

Winner of the Jhalak Prize 'A revelation' Owen Jones 'Afropean seizes the blur of contradictions that have obscured Europe's relationship with blackness and paints it into something new, confident and lyrical' Afua Hirsch A Guardian, New Statesman and BBC History Magazine Best Book of 2019 'Afropean. Here was a space where blackness was taking part in shaping European identity ... A continent of Algerian flea markets, Surinamese shamanism, German Reggae and Moorish castles. Yes, all this was part of Europe too ... With my brown skin and my British passport - still a ticket into mainland Europe at the time of writing - I set out in search of the Afropeans, on a cold October morning.' Afropean is an on-the-ground documentary of areas where Europeans of African descent are juggling their multiple allegiances and forging new identities. Here is an alternative map of the continent, taking the reader to places like Cova Da Moura, the Cape Verdean shantytown on the outskirts of Lisbon with its own underground economy, and Rinkeby, the area of Stockholm that is eighty per cent Muslim. Johny Pitts visits the former Patrice Lumumba University in Moscow, where West African students are still making the most of Cold War ties with the USSR, and Clichy Sous Bois in Paris, which gave birth to the 2005 riots, all the while presenting Afropeans as lead actors in their own story.

Traditional Scholars have often looked at African American studies through the lens of European theories, resulting in the secondarization of the African American presence in Europe and its contributions to European culture. Blackening Europe reverses this pattern by using African American culture as the starting point for a discussion of its influences over traditional European structures. Evidence of Europe's blackening abound, form French ministers of Hip-hop and British incarnations of "Shaft" to slavery memorial in the Netherlands and German youth sporting dreadlocks. Collecting essays by scholars from both sides of the Atlantic and fields as diverse as history, literature, politics, social studies, art, film and music, Blackening Europe explores the implications of these cultural hybrids and extends the growing dialogues about Europe's fascination with African America.

2023 PROSE Award in European History “An invaluable historical example of the creation of a scientific conception of race that is unlikely to disappear anytime soon.” —Washington Post “Reveals how prestigious natural scientists once sought physical explanations, in vain, for a social identity that continues to carry enormous significance to this day.” —Nell Irvin Painter, author of The History of White People “A fascinating, if disturbing, window onto the origins of racism.” —Publishers Weekly “To read [these essays] is to witness European intellectuals, in the age of the Atlantic slave trade, struggling, one after another, to justify atrocity.” —Jill Lepore, author of These Truths: A History of the United States In 1739 Bordeaux’s Royal Academy of Sciences announced a contest for the best essay on the sources of “blackness.” What is the physical cause of blackness and African hair, and what is the cause of Black degeneration, the contest announcement asked. Sixteen essays, written in French and Latin, were ultimately dispatched from all over Europe. Documented on each page are European ideas about who is Black and why. Looming behind these essays is the fact that some four million Africans had been kidnapped and shipped across the Atlantic by the time the contest was announced. The essays themselves represent a broad range of opinions, which nonetheless circulate around a common theme: the search for a scientific understanding of the new concept of race. More important, they provide an indispensable record of the Enlightenment-era thinking that normalized the sale and enslavement of Black human beings. These never previously published documents survived the centuries tucked away in Bordeaux’s municipal library. Translated into English and accompanied by a detailed introduction and headnotes written by Henry Louis Gates, Jr., and Andrew Curran, each essay included in this volume lays bare the origins of anti-Black racism and colorism in the West.

A Time “Must-Read” Book of 2019 “[Williams] is so honest and fresh in his observations, so skillful at blending his own story with larger principles, that it is hard not to admire him.” —Andrew Solomon, New York Times Book Review (front page) The son of a “black” father and a “white” mother, Thomas Chatterton Williams found himself questioning long-held convictions about race upon the birth of his blond-haired, blue-eyed daughter—and came to realize that these categories cannot adequately capture either of them, or anyone else. In telling the story of his family’s multigenerational transformation from what is called black to what is assumed to be white, he reckons with the way we choose to see and define ourselves. Self-Portrait in Black and White is a beautifully written, urgent work for our time.