From the late-nineteenth to mid-twentieth century juvenile reformatories served as citizen-building institutions and a political tool of state racism in post-emancipation America. New South advocates cemented their regional affiliation by using these reformatories to showcase mercies which were racialized, gendered, and linked to sexuality. Southern Mercy uses four historical examples of juvenile reformatories in North Carolina to explore how spectacles of mercy have influenced Southern modernity. Working through archival material pertaining to race and moral uplift, including rare photos from the private archives of Samarcand Manor (the State Home and Industrial Manor for Girls) and restricted archival records of reformatory racial policies, Annette Bickford examines the limits of emancipation, and the exclusions inherent in liberal humanism that distinguish racism in the contemporary "post-race" era.

In a small town in South Carolina in 1916, fourteen-year-old Willie T. Allson comes to manhood in a manner befitting the finest Southern tall tales. "An epic tale of Southern myth, mystery, and mayhem".--The Indianapolis News. Winner of the Lillian Smith Award for Fiction.

In the late nineteenth and early twentieth centuries imprisoned black women faced wrenching forms of gendered racial terror and heinous structures of economic exploitation. Subjugated as convict laborers and forced to serve additional time as domestic workers before they were allowed their freedom, black women faced a pitiless system of violence, terror, and debasement. Drawing upon black feminist criticism and a diverse array of archival materials, Sarah Haley uncovers imprisoned women's brutalization in local, county, and state convict labor systems, while also illuminating the prisoners' acts of resistance and sabotage, challenging ideologies of racial capitalism and patriarchy and offering alternative conceptions of social and political life. A landmark history of black women's imprisonment in the South, this book recovers stories of the captivity and punishment of black women to demonstrate how the system of incarceration was crucial to organizing the logics of gender and race, and constructing Jim Crow modernity.

Poor judgment: knowing better yet doing it anyway.Flint Stone is a professional in every way.He's a police officer with the K-9 unit and works at Gun Barrel High as the school resource officer. In his spare time, he's working his heart out to create a successful gym from the ground up.He's loved by every single person he ever encounters--student, faculty, and employees--Everyone but Camryn Elvis Presley.The only thing they have in common is their mothers' poor excuses for names.Period. The end.So why is it every time she crosses his path that he has the urge to mess up her perfectly curled hair? Or unbutton a few of her prim and proper buttons?He knows he should stay away, yet like the high schoolers he's around every day, he has no choice but to react first and think about the consequences later.Side note--bad decisions are made, leading to lapses in judgment that threaten both of their jobs. Yet when the time comes, neither one can seem to find the wherewithal to care. Why? Because being bad feels so good.

#1 NEW YORK TIMES BESTSELLER • NOW A MAJOR MOTION PICTURE STARRING MICHAEL B. JORDAN AND JAMIE FOXX • A powerful true story about the potential for mercy to redeem us, and a clarion call to fix our broken system of justice—from one of the most brilliant and influential lawyers of our time. “[Bryan Stevenson’s] dedication to fighting for justice and equality has inspired me and many others and made a lasting impact on our country.”—John Legend NAMED ONE OF THE MOST INFLUENTIAL BOOKS OF THE DECADE BY CNN • Named One of the Best Books of the Year by The New York Times • The Washington Post • The Boston Globe • The Seattle Times • Esquire • Time Bryan Stevenson was a young lawyer when he founded the Equal Justice Initiative, a legal practice dedicated to defending those most desperate and in need: the poor, the wrongly condemned, and women and children trapped in the farthest reaches of our criminal justice system. One of his first cases was that of Walter McMillian, a young man who was sentenced to die for a notorious murder he insisted he didn’t commit. The case drew Bryan into a tangle of conspiracy, political machination, and legal brinksmanship—and transformed his understanding of mercy and justice forever. Just Mercy is at once an unforgettable account of an idealistic, gifted young lawyer’s coming of age, a moving window into the lives of those he has defended, and an inspiring argument for compassion in the pursuit of true justice. Winner of the Carnegie Medal for Excellence in Nonfiction • Winner of the NAACP Image Award for Nonfiction • Winner of a Books for a Better Life Award • Finalist for the Los Angeles Times Book Prize • Finalist for the Kirkus Reviews Prize • An American Library Association Notable Book “Every bit as moving as To Kill a Mockingbird, and in some ways more so . . . a searing indictment of American criminal justice and a stirring testament to the salvation that fighting for the vulnerable sometimes yields.”—David Cole, The New York Review of Books “Searing, moving . . . Bryan Stevenson may, indeed, be America’s Mandela.”—Nicholas Kristof, The New York Times “You don’t have to read too long to start cheering for this man. . . . The message of this book . . . is that evil can be overcome, a difference can be made. Just Mercy will make you upset and it will make you hopeful.”—Ted Conover, The New York Times Book Review “Inspiring . . . a work of style, substance and clarity . . . Stevenson is not only a great lawyer, he’s also a gifted writer and storyteller.”—The Washington Post “As deeply moving, poignant and powerful a book as has been, and maybe ever can be, written about the death penalty.”—The Financial Times “Brilliant.”—The Philadelphia Inquirer

A powerful tragedy distilled into a small masterpiece by the Nobel Prize-winning author of Beloved and, almost like a prelude to that story, set two centuries earlier. Jacob is an Anglo-Dutch trader in 1680s United States, when the slave trade is still in its infancy. Reluctantly he takes a small slave girl in part payment from a plantation owner for a bad debt. Feeling rejected by her slave mother, 14-year-old Florens can read and write and might be useful on his farm. Florens looks for love, first from Lina, an older servant woman at her new master's house, but later from the handsome blacksmith, an African, never enslaved, who comes riding into their lives . . . At the novel's heart, like Beloved, it is the ambivalent, disturbing story of a mother and a daughter – a mother who casts off her daughter in order to save her, and a daughter who may never exorcise that abandonment.

2015: After the sudden death of her troubled mother, struggling Harvard grad student Kate Drayton walks out on her lecture-- and her entire New England life. She flees to Charleston, South Carolina, the place where her parents met, convinced it holds the key to understanding her fractured family and saving her career in academia. Her mother was researching a failed 1822 slave revolt-- and Kate will continue her work. 1822: Tom Russell, a gifted blacksmith and slave, grappled with a terrible choice: arm the uprising spearheaded by members of the fiercely independent African Methodist Episcopal Church or keep his own neck out of the noose and protect the woman he loves.