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"In this project Julie Gallaher documents a generation of black women who came to politics during the 1940's in New York City. Ada B. Jackson, Pauli Murray, Anna Arnold Hedgeman, Bessie Buchanan, Jeanne Noble, and Shirley Chisholm, among others, worked, studied, and lived in Harlem and Brooklyn. They seized the political opportunities generated by World War II and its aftermath and pursued new ways to redress the entrenched systems of oppression that denied them full rights of citizenship and human dignity. These included not only grassroots activism outside the halls of formal political power, but also efforts to gain insider status in the administrative state; the use of the United Nations; and an unprecedented number of campaigns for elected office. Theirs was a new politics and they waged their struggles not just for themselves, but also for their communities and for the broader ideals of equality. Gallagher traces these activists' paths from women's clubs and civic organizations to national politics: appointments to presidential commissions, congressional offices, and presidential candidacy. This study illustrates the kinds of political changes women helped bring about, underscores the boundaries of what was possible vis--̉vis the state and examining how race, gender and the structure of the state itself shape outcomes"--

POLITICAL SCIENCE / General. --- SOCIAL SCIENCE / Women's Studies. --- SOCIAL SCIENCE / Ethnic Studies / African American Studies. --- African American women --- Afro-American women --- Women, African American --- Women, Negro --- Women --- Civil rights --- Political activity

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Based primarily on decades of research by Harry Henderson (co-author of A History of African American Artists from 1792 to the Present), this fresh look at the facts of Edmonia Lewis's life and art discusses how she helped shape today's world. Edmonia Lewis was the first famous "colored sculptor" and the first to idealize her African and American Indian heritages in stone. She flourished from 1864 through 1878, and, as an artist, was a rare instrument for social change in the aftermath of the Civil War. She pressed her case for equality from her studio in Rome, Italy, and with annual tours of the United States. Her biography is based on private letters, public documents, essays, hundreds of news items, reviews of her work, museum collections, and more than two dozen published interviews. It reveals how a world biased against her color, class, gender and religion received her. Of special interest to African-American and American-Indian studies, as well as art, women's, and American history, the narrative opens an abundance of previously unrecognized sources, reinterprets important relationships, names missing works, and corrects the identification of an important portrait. Students of the nineteenth century will find it a cool counterpoint to the bitter rage of Civil War and Reconstruction. Readers familiar with her legendary icons of race may be surprised by her many portraits and her untold moves to Paris and London. They will also find answers to long-standing questions: Where, when, and how did she die? Why did her encounter with a bronze Ben Franklin leave her reeling? Why did she idealize a woman with African features only once in her career? Why did she never cite the now-famous Forever Free after her first interviews in Rome? Why did she have to stalk Henry Wadsworth Longfellow through the streets to make his portrait? Where was her studio? How often did she tour America? How did she enter her work in the 1876 Centennial expo, which had barred colored people absolutely? What were her relationships with fans, mentors, and fellow sculptors? Who were her rivals, her best friends, and her worst enemies? Fresh evidence, never before collected and collated, argues a novel motive for her erotic masterwork, the Death of Cleopatra, which sits apart in her oeuvre like a hussy in a small town church. Newly realized sources also change our view of her childhood and provide ample support to refute distortions of her personal character, sexuality, and appearance.

African American women artists --- African American sculptors --- Lewis, Edmonia. --- Afro-American sculptors --- Sculptors, African American --- Sculptors --- Afro-American women artists --- Women artists, African American --- Women artists --- Lewis, Mary Edmonia --- Wildfire --- Ish-scoodah --- Fire Flower

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Black women in marginalized communities are uniquely at risk of battering, rape, sexual harassment, stalking and incest. Through the compelling stories of Black women who have been most affected by racism, persistent poverty, class inequality, limited access to support resources or institutions, Beth E. Richie shows that the threat of violence to Black women has never been more serious, demonstrating how conservative legal, social, political and economic policies have impacted activism in the US-based movement to end violence against women. Richie argues that Black women face particular peril

Crime --- Violence --- Victims of crimes --- Abused women --- African American women --- Criminal sociology --- Criminology --- Sociology of crime --- Sociology --- Afro-American women --- Women, African American --- Women, Negro --- Women --- Sociological aspects. --- Social conditions. --- Crimes against. --- Violence against. --- Abuse of. --- Sociological aspects

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"The Cracks Between What We Are and What We Are Supposed to Be forms an extended consideration not only of Harryette Mullen's own work, methods, and interests as a poet, but also of issues of central importance to African American poetry and language, women's voices, and the future of poetry"--

Poets, American --- African American women poets --- Literature and society --- African American women --- Literary criticism --- History --- Intellectual life --- Poetry. --- Mullen, Harryette Romell --- Criticism and interpretation. --- LITERARY CRITICISM / Poetry. --- Afro-American women poets --- Women poets, African American --- Women poets, American --- Mullen, Harryette --- Szymborska, Wisława

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Pauline Elizabeth Hopkins was perhaps the most prolific black female writer of her time. Between 1900 and 1904, writing mainly for Colored American Magazine, she published four novels, at least seven short stories, and numerous articles that often addressed the injustices and challenges facing African Americans in post-Civil War America. In Pauline Hopkins and the American Dream, Alisha Knight provides the first full-length critical analysis of Hopkins's work. Scholars have frequently situated Hopkins within the domestic, sentimental tradition of nineteenth-ce

African American women authors --- American fiction --- Afro-American women authors --- Women authors, African American --- Women authors, American --- Intellectual life. --- Women authors --- History and criticism. --- African American authors --- Hopkins, Pauline E. --- Criticism and interpretation. --- Hopkins, Pauline Elizabeth --- Hopkins, Pauline --- Criticism and interpretation --- History and criticism --- Intellectual life