Dismissing the idea that an 'African connection' explains the spread of Islam amongst African Americans, Sherman Jackson explores the complex factors that have given rise to the Black Muslim movement & finds answers in both African American religious traditions & the doctrines of the faith.

The problem confronting theology in the black community is not simply proving that God exists but, rather, that God cares. For the Muslim, it is essential that such a theology be grounded in the Quran and Islam's theological tradition. The Blackamerican Muslim, meanwhile, must also vindicate the protest-oriented agenda of black religion. These are the tasks Sherman Jackson undertakes in this path-breaking work.

Many of the most prominent figures in African-American Islam have been dismissed as Muslim heretics and cultists. Focusing on the works of five of these notable figures—Edward W. Blyden, Noble Drew Ali, Elijah Muhammad, Malcolm X, and Wallace D. Muhammad—author Edward E. Curtis IV examines the origin and development of modern African-American Islamic thought. Curtis notes that intellectual tensions in African-American Islam parallel those of Islam throughout its history—most notably, whether Islam is a religion for a particular group of people or whether it is a religion for all people. In the African-American context, such tensions reflect the struggle for black liberation and the continuing reconstruction of black identity. Ultimately, Curtis argues, the interplay of particular and universal interpretations of the faith can allow African-American Islam a vision that embraces both a specific group of people and all people.

The involvement of African Americans with Islam reaches back to the earliest days of the African presence in North America. This book explores these roots in the Middle East, West Africa and antebellum America.

Islam is a vital, growing religion in America. Little is known, however, about the religion except through the biased lens of media reports which brand African American Muslims as "Black Muslims" and portray their communities as places of social protest. African American Islam challenges these myths by contextualizing the experience and history of African American Islamic life. This is the first book to investigate the diverse African American Islamic community on its own terms, in its own language and through its own synthesis of Islamic history and philosophy.

Explores the stories of African Muslim slaves in the New World. The author argues that although Islam as brought by the Africans did not outlive the last slaves, "what they wrote on the sands of the plantations is a successful story of strength, resilience, courage, pride, and dignity." She discusses Christian Europeans, African Muslims, the Atlantic slave trade, literacy, revolts, and the Muslim legacy. Annotation copyrighted by Book News, Inc., Portland, OR

Interviews with young Muslims in Chicago explore the complexity of identities formed at the crossroads of Islam and hip hop This groundbreaking study of race, religion and popular culture in the 21st century United States focuses on a new concept, “Muslim Cool.” Muslim Cool is a way of being an American Muslim—displayed in ideas, dress, social activism in the ’hood, and in complex relationships to state power. Constructed through hip hop and the performance of Blackness, Muslim Cool is a way of engaging with the Black American experience by both Black and non-Black young Muslims that challenges racist norms in the U.S. as well as dominant ethnic and religious structures within American Muslim communities. Drawing on over two years of ethnographic research, Su'ad Abdul Khabeer illuminates the ways in which young and multiethnic US Muslims draw on Blackness to construct their identities as Muslims. This is a form of critical Muslim self-making that builds on interconnections and intersections, rather than divisions between “Black” and “Muslim.” Thus, by countering the notion that Blackness and the Muslim experience are fundamentally different, Muslim Cool poses a critical challenge to dominant ideas that Muslims are “foreign” to the United States and puts Blackness at the center of the study of American Islam. Yet Muslim Cool also demonstrates that connections to Blackness made through hip hop are critical and contested—critical because they push back against the pervasive phenomenon of anti-Blackness and contested because questions of race, class, gender, and nationality continue to complicate self-making in the United States.