Celeste Bedford Walker, one of the most accomplished contemporary playwrights in Texas, crafts dramas from history and everyday life that illuminate the African American experience in all its variety, tragedy, pathos, and hilarity. Collected here are five of her most acclaimed plays: Sassy Mamas, Greenwood: An American Dream Destroyed, Reunion in Bartersville, Distant Voices, and Camp Logan. The topics treated by Walker are timelier than ever. Sassy Mamas follows “three women of substance and of a certain age who flip the script on gender stereotypes and become involved with younger men.” Greenwood: An American Dream Destroyed tells the powerful story of the horrific attack on the Greenwood District of Tulsa, Oklahoma, once known as the “Black Wall Street.” In Reunion in Bartersville, described by Walker as “a comedy-mystery in two acts,” the 50-year class reunion of Bartersville High School turns to hilarious suspense when an unexpected guest arrives. Recipient of a grant from the National Endowment for the Arts, Distant Voices “resurrects” persons buried in College Memorial Park, the second-oldest African American cemetery in Houston, to celebrate the wisdom of those gone before. Camp Logan is based on real-life events in Houston in 1917, when members of the highly decorated 24th Infantry Regiment were subjected to brutal Jim Crow treatment, resulting in a riot that left dozens dead and the execution of seventeen African American soldiers for mutiny. Readers and audiences should be prepared to laugh out loud, to be challenged, to be disturbed, and above all, to be enlightened by this poignant collection of plays.

Isn’t a sarong just a boring big piece of cloth? What can be so amazing about it? Nora and Adi are about to go to the beach when their mother takes off her baby sling and hands it to the two children. They discover that there is more than meets the eye to this seemingly ordinary sarong. Join Nora and Adi as they go on a playful day out and discover what unexpected fun, joy and new encounters the sarong can bring.

Blaxploitation action narratives as well as politically radical films like Sweet Sweetback's Baadasssss Song typically portrayed black women as trifling "bitches" compared to the supermacho black male heroes. But starting in 1973, the emergence of "baad bitches" and "sassy supermamas" reversed the trend as self-assured, empowered, and tough black women took the lead in the films Cleopatra Jones, Coffy, and Foxy Brown. Stephane Dunn unpacks the intersecting racial, sexual, and gender politics underlying the representations of racialized bodies, masculinities, and femininities in early 1970s black action films, with particular focus on the representation of black femininity. Recognizing a distinct moment in the history of African American representation in popular cinema, Dunn analyzes how it emerged from a radical political era influenced by the Black Power movement and feminism. Dunn also engages blaxploitation's legacy in contemporary hip-hop culture, as suggested by the music’s disturbing gender politics and the "baad bitch daughters" of Foxy Brown and Cleopatra Jones, rappers Foxy Brown and Lil' Kim.

In this book, the author catalogues 375 black congregations, each at least one hundred years old, in the parts of Texas where most blacks were likely to have settled -- east of Interstate Highway 35 and from the Red River to the Gulf of Mexico. Ninety-nine counties are divided into five regions: Central Texas, East Texas, the Gulf Coast, North Texas, and South Texas.

Caldecott Honor winner David Ezra Stein’s lively tale is a fantastic read-aloud, and feisty Mama Squirrel will have fierce mamas everywhere applauding! Ol’ Mama Squirrel has raised lots of babies, and she knows just how to protect them. Whenever trouble comes nosing around, she springs into action with a determined “Chook, chook, chook!” and scares trouble away. Her bravery is put to the test, however, when a really big threat wanders into town and onto her tree. But no matter what, Mama’s not about to back down!

"Of all the people you will know in a lifetime, you are the only one you will never leave nor lose. To the question of your life, you are the only answer. To the problems of your life, you are the only solution." This is the premise of Jo Coudert's brilliant book, hailed by psychiatrists and layman alike as a breakthrough in the field of self-understanding. No other book is comparable in its intelligent synthesis of knowledge of the workings of the human mind in terms designed to be of immediate and practical benefit to the reader.

James and Annetta White opened the Broken Spoke in 1964, then a mile south of the Austin city limits, under a massive live oak, and beside what would eventually become South Lamar Boulevard. White built the place himself, beginning construction on the day he received his honorable discharge from the US Army. And for more than fifty years, the Broken Spoke has served up, in the words of White’s well-worn opening speech, “. . . cold beer, good whiskey, the best chicken fried steak in town . . . and good country music.” White paid thirty-two dollars to his first opening act, D. G. Burrow and the Western Melodies, back in 1964. Since then, the stage at the Spoke has hosted the likes of Bob Wills, Dolly Parton, Ernest Tubb, Ray Price, Marcia Ball, Pauline Reese, Roy Acuff, Kris Kristofferson, George Strait, Willie Nelson, Jerry Jeff Walker, Asleep at the Wheel, and the late, great Kitty Wells. But it hasn’t always been easy; through the years, the Whites and the Spoke have withstood their share of hardship—a breast cancer diagnosis, heart trouble, the building’s leaky roof, and a tour bus driven through its back wall. Today the original rustic, barn-style building, surrounded by sleek, high-rise apartment buildings, still sits on South Lamar, a tribute and remembrance to an Austin that has almost vanished. Housing fifty years of country music memorabilia and about a thousand lifetimes of memories at the Broken Spoke, the Whites still honor a promise made to Ernest Tubb years ago: they’re “keepin’ it country.”