The Souls of Mixed Folk examines representations of mixed race in literature and the arts that redefine new millennial aesthetics and politics. Focusing on black-white mixes, Elam analyzes expressive works—novels, drama, graphic narrative, late-night television, art installations—as artistic rejoinders to the perception that post-Civil Rights politics are bereft and post-Black art is apolitical. Reorienting attention to the cultural invention of mixed race from the social sciences to the humanities, Elam considers the creative work of Lezley Saar, Aaron McGruder, Nate Creekmore, Danzy Senna, Colson Whitehead, Emily Raboteau, Carl Hancock Rux, and Dave Chappelle. All these writers and artists address mixed race as both an aesthetic challenge and a social concern, and together, they gesture toward a poetics of social justice for the "mulatto millennium." The Souls of Mixed Folk seeks a middle way between competing hagiographic and apocalyptic impulses in mixed race scholarship, between those who proselytize mixed race as the great hallelujah to the "race problem" and those who can only hear the alarmist bells of civil rights destruction. Both approaches can obscure some of the more critically astute engagements with new millennial iterations of mixed race by the multi-generic cohort of contemporary writers, artists, and performers discussed in this book. The Souls of Mixed Folk offers case studies of their creative work in an effort to expand the contemporary idiom about mixed race in the so-called post-race moment, asking how might new millennial expressive forms suggest an aesthetics of mixed race? And how might such an aesthetics productively reimagine the relations between race, art, and social equity in the twenty-first century?

One of the largest southern cities and a hub for the cotton industry, Memphis, Tennessee, was at the forefront of black political empowerment during the Jim Crow era. Compared to other cities in the South, Memphis had an unusually large number of African American voters. Black Memphians sought reform at the ballot box, formed clubs, ran for office, and engaged in voter registration and education activities from the end of the Civil War through the Brown v. Board of Education decision of 1954. In this groundbreaking book, Elizabeth Gritter examines how and why black Memphians mobilized politically in the period between Reconstruction and the beginning of the civil rights movement. Gritter illuminates, in particular, the efforts and influence of Robert R. Church Jr., an affluent Republican and founder of the Lincoln League, and the notorious Memphis political boss Edward H. Crump. Using these two men as lenses through which to view African American political engagement, this volume explores how black voters and their leaders both worked with and opposed the white political machine at the ballot box. River of Hope challenges persisting notions of a "Solid South" of white Democratic control by arguing that the small but significant number of black southerners who retained the right to vote had more influence than scholars have heretofore assumed. Gritter's nuanced study presents a fascinating view of the complex nature of political power during the Jim Crow era and provides fresh insight into the efforts of the individuals who laid the foundation for civil rights victories in the 1950s and '60s.

Hunt, an African-American novelist, actress, and singer, explores the role color has had in her family's history as she searches for a long-lost grandmother.

Knowing Feminisms looks at feminism as a vital source of new knowledge and new ways of working throughout a range of disciplines. It also scrutinizes the sometimes highly problematic forms its presence within academia can take. The contributors, all well-known feminist academics, discuss the epistemological and ontological borderlands' that feminisms inhabit, which although within, still remain other' to, the academy. The book addresses fundamentally important questions such as: Should feminists work within traditional disciplines or abandon them in favour of Women's Studies? Is the idea of feminist pedagogy as empowerment' actually one which de-skills? Does the feminist transformation of some academic disciplines signify that these are no longer significant sites of knowledge and/or power? Do the essential organizational features of disciplines and institutions depend upon repressive means, or is it possible to transform these according to feminist principles? Are some disciplines and types of institutions particularly resistant to feminist ideas? Is an intellectual home' for feminism ever possible or desirable within academia, or is critical thinking best done from the margins? Can Women's Studies as an organizational presence within the university encompass dissenting positions on these foundational questions, or will it contain and control what can be said and by whom?

EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.