A "marvelous" (Lauren Groff) and "gentle, mysterious and profound” (Marina Abramović) novel about a woman who has come undone. A student moves to the city to research Gothic nudes, renting an apartment from a painter, Agnes, who lives in another town with her husband. One day, Agnes arrives in the city and settles into the upstairs studio. In their meetings on the stairs, in the studio, at the corner café, the kitchen at dawn, Agnes tells stories of her youth, her family, her marriage, and ideas for her art - which is always just about to be created. As the months pass, it becomes clear that Agnes might not have a place to return to. The student is increasingly aware of Agnes's disintegration. Her stories are frenetic; her art scattered and unfinished, white paint on a white canvas. What emerges is the menacing sense that every life is always at the edge of disaster, no matter its seeming stability. Alongside the research into human figures, the student is learning, from a cool distance, about the narrow divide between happiness and resentment, creativity and madness, contentment and chaos. White on White is a sharp exploration of empathy and cruelty, and the stunning discovery of what it means to be truly vulnerable, and laid bare.

What does it mean to be white? In our culture, whites have not always used their power and privilege responsibly. As a result, those from other racial and ethnic backgrounds may respond to you differently or suspiciously simply because of your whiteness. You may feel ambivalent about your own identity as a white person. Perhaps you have been frustrated when a friend of another ethnicity shakes his head and tells you, ''You just don't get it because you're white.'' How can whites overcome the mistakes of the past? How can they build authentic relationships with people from other backgrounds? In this groundbreaking book, Paula Harris and Doug Schaupp present a Christian model of what it means to be white. They wrestle through the history of how those in the majority have oppressed minority cultures, but they also show that whites have their own cultural and ethnic identity with its own distinctive traits and contributions. They demonstrate that white people have a key role to play in the work of racial reconciliation and the forging of a more just society. Filled with real-life stories, life-transforming insights and practical guidance, this book is for any white who is aware of racial inequality but has wondered, So what do I do? Discover here a vision for just communities where whites can use their influence to empower those of other ethnicities.

The New York Times best-selling book exploring the counterproductive reactions white people have when their assumptions about race are challenged, and how these reactions maintain racial inequality. In this “vital, necessary, and beautiful book” (Michael Eric Dyson), antiracist educator Robin DiAngelo deftly illuminates the phenomenon of white fragility and “allows us to understand racism as a practice not restricted to ‘bad people’ (Claudia Rankine). Referring to the defensive moves that white people make when challenged racially, white fragility is characterized by emotions such as anger, fear, and guilt, and by behaviors including argumentation and silence. These behaviors, in turn, function to reinstate white racial equilibrium and prevent any meaningful cross-racial dialogue. In this in-depth exploration, DiAngelo examines how white fragility develops, how it protects racial inequality, and what we can do to engage more constructively.

The invisibility of whiteness -- Scientific endeavors to study race : race is not rooted in biology -- Race and the social construction of whiteness -- Ways of seeing power and privilege -- Socioeconomic class and white privilege -- (Not) Teaching race -- (White) Workplaces -- The race of public policy -- Looking forward.

You may be white, but that doesn't mean you have no culture. Charting his own journey toward understanding his white identity, Daniel Hill shows us the seven stages we encounter on the path to cultural awakening. This timely book will give you a new perspective on being white and also empower you to be an agent of reconciliation in our increasingly diverse and divided world.

FROM HAN KANG, WINNER OF THE 2024 NOBEL PRIZE IN LITERATURE “[Han Kang writes in] intense poetic prose that . . . exposes the fragility of human life.”—from the Nobel Prize citation SHORTLISTED FOR THE BOOKER PRIZE • A “formally daring, emotionally devastating, and deeply political” (The New York Times Book Review) exploration of personal grief through the prism of the color white, from the internationally bestselling author of The Vegetarian “Stunningly beautiful writing . . . delicate and gorgeous . . . one of the smartest reflections on what it means to remember those we’ve lost.”—NPR While on a writer’s residency, a nameless narrator focuses on the color white to creatively channel her inner pain. Through lyrical, interconnected stories, she grapples with the tragedy that has haunted her family, attempting to make sense of her older sister’s death using the color white. From trying to imagine her mother’s first time producing breast milk to watching the snow fall and meditating on the impermanence of life, she weaves a poignant, heartfelt story of the omnipresence of grief and the ways we perceive the world around us. In captivating, starkly beautiful language, The White Book offers a multilayered exploration of color and its absence, of the tenacity and fragility of the human spirit, and of our attempts to graft new life from the ashes of destruction.

White trash. The phrase conjures up images of dirty rural folk who are poor, ignorant, violent, and incestuous. But where did this stigmatizing phrase come from? And why do these stereotypes persist? Matt Wray answers these and other questions by delving into the long history behind this term of abuse and others like it. Ranging from the early 1700s to the early 1900s, Not Quite White documents the origins and transformations of the multiple meanings projected onto poor rural whites in the United States. Wray draws on a wide variety of primary sources—literary texts, folklore, diaries and journals, medical and scientific articles, social scientific analyses—to construct a dense archive of changing collective representations of poor whites. Of crucial importance are the ideas about poor whites that circulated through early-twentieth-century public health campaigns, such as hookworm eradication and eugenic reforms. In these crusades, impoverished whites, particularly but not exclusively in the American South, were targeted for interventions by sanitarians who viewed them as “filthy, lazy crackers” in need of racial uplift and by eugenicists who viewed them as a “feebleminded menace” to the white race, threats that needed to be confined and involuntarily sterilized. Part historical inquiry and part sociological investigation, Not Quite White demonstrates the power of social categories and boundaries to shape social relationships and institutions, to invent groups where none exist, and to influence policies and legislation that end up harming the very people they aim to help. It illuminates not only the cultural significance and consequences of poor white stereotypes but also how dominant whites exploited and expanded these stereotypes to bolster and defend their own fragile claims to whiteness.