21 Books Published by Liveright Publishing Corporation on AALBC — Book Cover Collage

In the six years since its initial publication, The Color of Law, “the most forceful argument ever published on how federal, state, and local governments gave rise to and reinforced neighborhood segregation” (William Julius Wilson), has become a landmark work, which—through its nearly one million copies sold—has helped to define the fractious age in which we live.

Aware that twenty-first-century segregation continues to promote entrenched inequality, Richard Rothstein has now teamed with housing policy expert Leah Rothstein to write Just Action, a blueprint for concerned citizens and community leaders. This book describes dozens of activities that readers and supporters can undertake in their own communities to make their commitment real, producing victories that might finally challenge residential segregation and help remedy America’s profoundly unconstitutional past.

On July 4, 1910, a significant boxing event unfolded in Reno, Nevada. It featured Jack Johnson, the world’s first Black heavyweight champion, against Jim Jeffries, a former heavyweight champion known as the "great white hope." This match occurred during the Jim Crow era, with many spectators hoping Jeffries would overturn the racial hierarchy challenged by Johnson’s prowess.

In Last on His Feet, artist Youssef Daoudi and poet Adrian Matejka transport readers into the boxing ring. The narrative intersperses dramatic boxing scenes with flashbacks, illuminating Johnson’s journey as the self-educated son of formerly enslaved parents to the apex of boxing, all while combating a racist justice system. The book combines vivid illustrations with striking verse, paying tribute to Jack Johnson, a contentious civil rights figure who has been overlooked for over a century.

From Lincoln Center’s inaugural poet-in-residence comes this unflinching collection that intricately mines the experience of being a Black woman in America.

A highly anticipated volume from critically acclaimed poet Mahogany L. Browne, Chrome Valley is at once a luminous hymn and a battle cry. Spanning the course of her own life as well as embodying centuries of virulent history, this collection pays solemn tribute to the women who came before her. Musically effervescent yet cutting poems capture the peculiar joys and pangs of Black girlhood: “you ain’t had freedom / ’til you climb on a bus 62 / & head to the closet mall / for a girl fight”; while others explore the inherent grief of motherhood, rhythmically intoning names like the tolling of a church bell: “Because Lesley McSpadden / Because Mamie Till / Because a Black mother know ain’t no song for that empty in ya belly.” Transcendent and grounded, funny and furious, the poems within bring depth to a movement, announcing Mahogany L. Browne as one of the most important poetic voices of our time.

New York Times Book Review • 100 Notable Books of 2022

Publishers Weekly • 10 Best Books of 2022

Best Books of 2022: NPR, Oprah Daily, Smithsonian, Boston Globe, Chicago Public Library

A stunning counternarrative of the legendary abolitionist Grimke sisters that finally reclaims the forgotten Black members of their family.

Sarah and Angelina Grimke—the Grimke sisters—are revered figures in American history, famous for rejecting their privileged lives on a plantation in South Carolina to become firebrand activists in the North. Their antislavery pamphlets, among the most influential of the antebellum era, are still read today. Yet retellings of their epic story have long obscured their Black relatives. In The Grimkes, award-winning historian Kerri Greenidge presents a parallel narrative, indeed a long-overdue corrective, shifting the focus from the white abolitionist sisters to the Black Grimkes and deepening our understanding of the long struggle for racial and gender equality.

That the Grimke sisters had Black relatives in the first place was a consequence of slavery’s most horrific reality. Sarah and Angelina’s older brother, Henry, was notoriously violent and sadistic, and one of the women he owned, Nancy Weston, bore him three sons: Archibald, Francis, and John. While Greenidge follows the brothers’ trials and exploits in the North, where Archibald and Francis became prominent members of the post–Civil War Black elite, her narrative centers on the Black women of the family, from Weston to Francis’s wife, the brilliant intellectual and reformer Charlotte Forten, to Archibald’s daughter, Angelina Weld Grimke, who channeled the family’s past into pathbreaking modernist literature during the Harlem Renaissance.

In a grand saga that spans the eighteenth century to the twentieth and stretches from Charleston to Philadelphia, Boston, and beyond, Greenidge reclaims the Black Grimkes as complex, often conflicted individuals shadowed by their origins. Most strikingly, she indicts the white Grimke sisters for their racial paternalism. They could envision the end of slavery, but they could not imagine Black equality: when their Black nephews did not adhere to the image of the kneeling and eternally grateful slave, they were cruel and relentlessly judgmental—an emblem of the limits of progressive white racial politics.

A landmark biography of the most important multiracial American family of the nineteenth century, The Grimkes suggests that just as the Hemingses and Jeffersons personified the racial myths of the founding generation, the Grimkes embodied the legacy—both traumatic and generative—of those myths, which reverberate to this day.

With Stanley Crouch’s untimely death in 2020, American literature lost "a critic without peer" (Ta-Nehisi Coates). Born in Los Angeles in 1945, Crouch—a towering stylist, fearless columnist, and without question, one of the finest jazz critics of all time—was Rabelaisian both in stature and in intellectual appetite. Beloved yet cantankerous, Crouch delighted and enflamed the passions of his readers in equal measure, whether writing about race, politics, literature, or music.

In these essays—some discovered on his computer, unpublished until now—Crouch tackles subjects ranging from Malcolm X ("a thorned bud standing in the shadow of sequoias") to the films of Quentin Tarantino ("With Django, Tarantino has slipped down … into a shallow and bloodstained hip-hop turn that his own best work has well-refuted").

Introduced by Jelani Cobb, with an afterword by Wynton Marsalis, and collected by his longtime editor Glenn Mott, Victory Is Assured canonizes the legacy of an inimitable, indispensable American critic.

Exquisitely compassionate and witty, Big Girl traces the intergenerational hungers and desires of Black womanhood, as told through the unforgettable voice of Malaya Clondon.

In her highly anticipated debut novel, Mecca Jamilah Sullivan explores the perils—and undeniable beauty—of insatiable longing.

Growing up in a rapidly changing Harlem, eight-year-old Malaya hates when her mother drags her to Weight Watchers meetings; she’d rather paint alone in her bedroom or enjoy forbidden street foods with her father. For Malaya, the pressures of her predominantly white Upper East Side prep school are relentless, as are the expectations passed down from her painfully proper mother and sharp-tongued grandmother. As she comes of age in the 1990s, she finds solace in the music of Biggie Smalls and Aaliyah, but her weight continues to climb—until a family tragedy forces her to face the source of her hunger, ultimately shattering her inherited stigmas surrounding women’s bodies, and embracing her own desire. Written with vibrant lyricism shot through with tenderness, Big Girl announces Sullivan as an urgent and vital voice in contemporary fiction.

Proudly introducing the Well-Read Black Girl Library Series, On Girlhood is a lovingly curated anthology celebrating short fiction from such luminaries as Rita Dove, Alice Walker, Toni Morrison, and more.

“When you look over your own library, who do you see?”

Since founding the beloved Well-Read Black Girl book club in 2015, Glory Edim has emerged as a literary tastemaker for a new generation. Continuing her life’s work to brighten and enrich American reading lives through the work of legendary Black authors, she now launches her Well-Read Black Girl Library Series with On Girlhood. This meticulously selected anthology features a wide range of unique voices, finally illuminating a distinctly robust sector of contemporary literature: groundbreaking short stories that explore the thin yet imperative line between Black girlhood and womanhood.

Divided into four themes—Innocence, Belonging, Love, and Self-Discovery—the unforgettable young protagonists within contend with the trials of coming of age that shape who they are and what they will become. With this tradition in mind, Innocence opens with Jamaica Kincaid’s searing “Girl,” in which a mother offers fierce instructions to her impressionable daughter. This deceptively simple yet profound monologue is followed by Toni Morrison’s first and only published short story, the now-canonical “Recitatif,” about two neglected girls who come together in youth only to find themselves on opposite picket lines in adulthood.

In Belonging, Toni Cade Bambara’s “The Lesson” follows rambunctious students on a field trip where they are exposed to a new world of luxury. In Love, Dana Johnson’s “Melvin in the Sixth Grade” captures the yearning of a lovesick teen smitten with the only boy who looks her way. And in Self-Discovery, Edwidge Danticat’s “Seeing Things Simply” charts the creative awakening of Princesse, a young woman with a hunger to be fully seen. These inspiring tales of world builders and rule breakers conclude with Zora Neale Hurston’s “How It Feels to Be Colored Me,” a personal essay brimming with wit and strength: “When covered by the waters, I am; and the ebb but reveals me again.”

At times heartbreaking and at times hilarious, these stories boldly push past flat stereotypes and powerfully convey the beauty of Black girlhood. In bringing together an array of influential authors—past and present—whose work remains timeless, Glory Edim has created an indispensable compendium for every home library and a soul-stirring guide to coming of age.

Featuring stories by Jamaica Kincaid, Toni Morrison, Dorothy West, Rita Dove, Camille Acker, Toni Cade Bambara, Amina Gautier, Alexia Arthurs, Dana Johnson, Alice Walker, Gwendolyn Brooks, Edwidge Danticat, Shay Youngblood, Paule Marshall, and Zora Neale Hurston.

Revealing the central yet intentionally obliterated role of Africa in the creation of modernity, Born in Blackness vitally reframes our understanding of world history.

Traditional accounts of the making of the modern world afford a place of primacy to European history. Some credit the fifteenth-century Age of Discovery and the maritime connection it established between West and East; others the accidental unearthing of the “New World.” Still others point to the development of the scientific method, or the spread of Judeo-Christian beliefs; and so on, ad infinitum. The history of Africa, by contrast, has long been relegated to the remote outskirts of our global story. What if, instead, we put Africa and Africans at the very center of our thinking about the origins of modernity?

In a sweeping narrative spanning more than six centuries, Howard W. French does just that, for Born in Blackness vitally reframes the story of medieval and emerging Africa, demonstrating how the economic ascendancy of Europe, the anchoring of democracy in the West, and the fulfillment of so-called Enlightenment ideals all grew out of Europe’s dehumanizing engagement with the “dark” continent. In fact, French reveals, the first impetus for the Age of Discovery was not—as we are so often told, even today—Europe’s yearning for ties with Asia, but rather its centuries-old desire to forge a trade in gold with legendarily rich Black societies sequestered away in the heart of West Africa.

Creating a historical narrative that begins with the commencement of commercial relations between Portugal and Africa in the fifteenth century and ends with the onset of World War II, Born in Blackness interweaves precise historical detail with poignant, personal reportage. In so doing, it dramatically retrieves the lives of major African historical figures, from the unimaginably rich medieval emperors who traded with the Near East and beyond, to the Kongo sovereigns who heroically battled seventeenth-century European powers, to the ex-slaves who liberated Haitians from bondage and profoundly altered the course of American history.

While French cogently demonstrates the centrality of Africa to the rise of the modern world, Born in Blackness becomes, at the same time, a far more significant narrative, one that reveals a long-concealed history of trivialization and, more often, elision in depictions of African history throughout the last five hundred years. As French shows, the achievements of sovereign African nations and their now-far-flung peoples have time and again been etiolated and deliberately erased from modern history. As the West ascended, their stories—siloed and piecemeal—were swept into secluded corners, thus setting the stage for the hagiographic “rise of the West” theories that have endured to this day.

“Capacious and compelling” (Laurent Dubois), Born in Blackness is epic history on the grand scale. In the lofty tradition of bold, revisionist narratives, it reframes the story of gold and tobacco, sugar and cotton—and of the greatest “commodity” of them all, the twelve million people who were brought in chains from Africa to the “New World,” whose reclaimed lives shed a harsh light on our present world.

Praised as “a trenchant, funny, and unsparing work of memoir and philosophy” —Aaron Robertson, Literary Hub

Frank B. Wilderson’s Afropessimism arrived at a moment when protests against police brutality once again swept the nation. Presenting an argument we can no longer ignore, Wilderson insists that we must view Blackness through the lens of perpetual slavery. Radical in conception, remarkably poignant, and with soaring flights of memoir, Afropessimism reverberates with wisdom and painful clarity in the fractured world we inhabit. “Wilderson’s ambitious book offers its readers two great gifts. First, it strives mightily to make its pessimistic vision plausible… . Second, the book depicts a remarkable life, lived with daring and sincerity.&rldquo; —Paul C. Taylor, Washington Post

What began in spring 2020 as local protests in response to the killing of George Floyd by Minneapolis police quickly exploded into a massive nationwide movement. Millions of mostly young people defiantly flooded into the nation’s streets, demanding an end to police brutality and to the broader, systemic repression of Black people and other people of color. To many observers, the protests appeared to be without precedent in their scale and persistence. Yet, as the acclaimed historian Elizabeth Hinton demonstrates in America on Fire, the events of 2020 had clear precursors—and any attempt to understand our current crisis requires a reckoning with the recent past.

Even in the aftermath of Donald Trump, many Americans consider the decades since the civil rights movement in the mid-1960s as a story of progress toward greater inclusiveness and equality. Hinton’s sweeping narrative uncovers an altogether different history, taking us on a troubling journey from Detroit in 1967 and Miami in 1980 to Los Angeles in 1992 and beyond to chart the persistence of structural racism and one of its primary consequences, the so-called urban riot. Hinton offers a critical corrective: the word riot was nothing less than a racist trope applied to events that can only be properly understood as rebellions—explosions of collective resistance to an unequal and violent order. As she suggests, if rebellion and the conditions that precipitated it never disappeared, the optimistic story of a post-Jim Crow United States no longer holds.

Black rebellion, America on Fire powerfully illustrates, was born in response to poverty and exclusion, but most immediately in reaction to police violence. In 1968, President Lyndon Johnson launched the "War on Crime," sending militarized police forces into impoverished Black neighborhoods. Facing increasing surveillance and brutality, residents threw rocks and Molotov cocktails at officers, plundered local businesses, and vandalized exploitative institutions. Hinton draws on exclusive sources to uncover a previously hidden geography of violence in smaller American cities, from York, Pennsylvania, to Cairo, Illinois, to Stockton, California.

The central lesson from these eruptions—that police violence invariably leads to community violence—continues to escape policymakers, who respond by further criminalizing entire groups instead of addressing underlying socioeconomic causes. The results are the hugely expanded policing and prison regimes that shape the lives of so many Americans today. Presenting a new framework for understanding our nation’s enduring strife, America on Fire is also a warning: rebellions will surely continue unless police are no longer called on to manage the consequences of dismal conditions beyond their control, and until an oppressive system is finally remade on the principles of justice and equality.

Weaving together American history, dramatic family chronicle, and searing episodes of memoir, Annette Gordon-Reed’s On Juneteenth provides a historian’s view of the country’s long road to Juneteenth, recounting both its origins in Texas and the enormous hardships that African-Americans have endured in the century since, from Reconstruction through Jim Crow and beyond. All too aware of the stories of cowboys, ranchers, and oilmen that have long dominated the lore of the Lone Star State, Gordon-Reed—herself a Texas native and the descendant of enslaved people brought to Texas as early as the 1820s—forges a new and profoundly truthful narrative of her home state, with implications for us all.

Combining personal anecdotes with poignant facts gleaned from the annals of American history, Gordon-Reed shows how, from the earliest presence of Black people in Texas to the day in Galveston on June 19, 1865, when Major General Gordon Granger announced the end of legalized slavery in the state, African-Americans played an integral role in the Texas story.

Reworking the traditional "Alamo" framework, she powerfully demonstrates, among other things, that the slave- and race-based economy not only defined the fractious era of Texas independence but precipitated the Mexican-American War and, indeed, the Civil War itself.

“Les Payne’s The Dead Are Arising is a brilliant and indispensable depic­tion of the life of Malcolm X. Payne, one of America’s most acclaimed journalists, is at the very top of his game in these pages, using the fruits of decades of interviews to bring new information and perspectives on one of the most fascinating, and often misunderstood, figures in American history.’ —Annette Gordon-Reed, professor of history, Harvard University, and author of the Pulitzer Prize-winning The Hemingses of Monticello: An American Family

Les Payne, the renowned Pulitzer Prize-winning investigative journalist, embarked in 1990 on a nearly thirty-year-long quest to interview anyone he could find who had actually known Malcolm X—all living siblings of the Malcolm Little family, classmates, street friends, cellmates, Nation of Islam figures, FBI moles and cops, and political leaders around the world. His goal was ambitious: to transform what would become over a hundred hours of interviews into an unprecedented portrait of Malcolm X, one that would separate fact from fiction.

The result is this historic biography that conjures a never-before-seen world of its protagonist, a work whose title is inspired by a phrase Malcolm X used when he saw his Hartford followers stir with purpose, as if the dead were truly arising, to overcome the obstacles of racism. Setting Malcolm’s life not only within the Nation of Islam but against the larger backdrop of American history, the book traces the life of one of the twentieth century’s most politically relevant figures "from street criminal to devoted moralist and revolutionary."

In tracing Malcolm X’s life from his Nebraska birth in 1925 to his Harlem assassination in 1965, Payne provides searing vignettes culled from Malcolm’s Depression-era youth, describing the influence of his Garveyite parents: his father, Earl, a circuit-riding preacher who was run over by a street car in Lansing, Michigan, in 1929, and his mother, Louise, who continued to instill black pride in her children after Earl’s death. Filling each chapter with resonant drama, Payne follows Malcolm’s exploits as a petty criminal in Boston and Harlem in the 1930s and early 1940s to his religious awakening and conversion to the Nation of Islam in a Massachusetts penitentiary.

With a biographer’s unwavering determination, Payne corrects the historical record and delivers extraordinary revelations—from the unmasking of the mysterious NOI founder “Fard Muhammad,” who preceded Elijah Muhammad; to a hair-rising scene, conveyed in cinematic detail, of Malcolm and Minister Jeremiah X Shabazz’s 1961 clandestine meeting with the KKK; to a minute-by-minute account of Malcolm X’s murder at the Audubon Ballroom.

Introduced by Payne’s daughter and primary researcher, Tamara Payne, who, following her father’s death, heroically completed the biography, The Dead Are Arising is a penetrating and riveting work that affirms the centrality of Malcolm X to the African American freedom struggle.

Why does race seem to color almost every feature of our moral and political universe? Why does a perpetual cycle of slavery—in all its political, intellectual, and cultural forms—continue to define the Black experience? And why is anti-Black violence such a predominant feature not only in the United States but around the world? These are just some of the compelling questions that animate Afropessimism, Frank B. Wilderson III’s seminal work on the philosophy of Blackness.

Combining precise philosophy with a torrent of memories, Wilderson presents the tenets of an increasingly prominent intellectual movement that sees Blackness through the lens of perpetual slavery. Drawing on works of philosophy, literature, film, and critical theory, he shows that the social construct of slavery, as seen through pervasive anti-Black subjugation and violence, is hardly a relic of the past but the very engine that powers our civilization, and that without this master-slave dynamic, the calculus bolstering world civilization would collapse. Unlike any other disenfranchised group, Wilderson argues, Blacks alone will remain essentially slaves in the larger Human world, where they can never be truly regarded as Human beings, where, "at every scale of abstraction, violence saturates Black life."

And while Afropessimism delivers a formidable philosophical account of being Black, it is also interwoven with dramatic set pieces, autobiographical stories that juxtapose Wilderson’s seemingly idyllic upbringing in mid-century Minneapolis with the abject racism he later encounters—whether in late 1960s Berkeley or in apartheid South Africa, where he joins forces with the African National Congress. Afropessimism provides no restorative solution to the hatred that abounds; rather, Wilderson believes that acknowledging these historical and social conditions will result in personal enlightenment about the reality of our inherently racialized existence.

Radical in conception, remarkably poignant, and with soaring flights of lyrical prose, Afropessimism reverberates with wisdom and painful clarity in the fractured world we inhabit. It positions Wilderson as a paradigmatic thinker and as a twenty-first-century inheritor of many of the African American literary traditions established in centuries past.

New York Times, "Times Critics Top Books of 2020": "Smart and capacious history…. A cautionary tale about relying on the private sector to provide what the public needs." - Jennifer Szalai, New York Times

From civil rights to Ferguson, Franchise reveals the untold history of how fast food became one of the greatest generators of black wealth in America.

Franchise is a stunning story of post-1960s urban black America, a tale of triumph and good intentions, but also of tragic consequences for race relations, poverty, and dietary health. Marcia Chatelain has done superb research and writes as a great storyteller. This is an important book, showing that civil rights successes led to burgers under black ownership as much as ballots for social change. Chatelain makes us see black capitalism in all its mixed blessings.—David W. Blight, Yale University, and author of the Pulitzer Prize-winning Frederick Douglass: Prophet of Freedom

William Monroe Trotter (1872- 1934), though still virtually unknown to the wider public, was an unlikely American hero. With the stylistic verve of a newspaperman and the unwavering fearlessness of an emancipator, he galvanized black working- class citizens to wield their political power despite the violent racism of post- Reconstruction America. For more than thirty years, the Harvard-educated Trotter edited and published the Guardian, a weekly Boston newspaper that was read across the nation. Defining himself against the gradualist politics of Booker T. Washington and the elitism of W. E. B. Du Bois, Trotter advocated for a radical vision of black liberation that prefigured leaders such as Marcus Garvey, Malcolm X, and Martin Luther King Jr. Synthesizing years of archival research, historian Kerri Greenidge renders the drama of turn- of- the- century America and reclaims Trotter as a seminal figure, whose prophetic, yet ultimately tragic, life offers a link between the vision of Frederick Douglass and black radicalism in the modern era.

Breathtakingly imaginative and unapologetically original, The World Doesn’t Require You announces a bold, generational talent.

From the critically acclaimed and award winning novelist Nicole Dennis-Benn comes a stirring portrait of motherhood, immigration, and the sacrifices we make in the name of love.

When Patsy gets her long-coveted visa to America, it comes after years of yearning to leave Pennyfield, a beautiful but impoverished Jamaican town where there are few opportunities for economic advancement. More than anything, Patsy wishes to be reunited with her oldest friend, Cicely, whose letters arrive from New York full of the promise of a happier life and a possible rekindling of their young love. As hard as it is for her to admit, Patsy’s plans don’t include her overzealous, evangelical mother — or even her five-year-old daughter, Tru, who she is leaving behind in Jamaica.

Beating with the feverish pulse of a long-held confession, Patsy gives voice to a woman who looks to America not to give a better life to her family back home, but instead for the opportunity to choose herself first. Patsy leaves Tru with a mixture of guilt and relief but in a defiant act of self-preservation, hoping for a new start where she can be, and love whomever she wants. But when Patsy arrives in Brooklyn, she discovers with disappointment that America is not as Cicely’s treasured letters described and, to survive as an undocumented immigrant, she is forced to work a series of unexpected jobs such as bathroom attendant and nanny. Meanwhile, Tru works to build a relationship with her father back in Jamaica, as she grapples with her own questions of identity and sexuality, and tries desperately to understand her mother’s abandonment.

Expertly evoking the rhythms of Jamaica and the bustling streets of New York, Patsy weaves between the lives of Patsy and Tru in vignettes spanning more than a decade as mother and daughter ultimately find a way back to one another.

As with her masterful debut Here Comes the Sun, Nicole Dennis-Benn once again charts the geography of a hidden world — that of a paradise lost, swirling with the echoes of lilting Patois, in which one woman fights to discover her sense of self in a world that tries to define her. Passionate, moving, and fiercely urgent, Patsy is a haunting depiction of immigration and womanhood, and the lasting threads of love stretching across years and oceans.

"Arrested in 1962 as South Africa’s apartheid regime intensified … forty-four-year-old lawyer and African National Congress activist Nelson Mandela had no idea that he would spend the next twenty-seven years in jail. During his 10,052 days of incarceration, [he] … wrote a multitude of letters to unyielding prison authorities, fellow activists, government officials, and … his courageous wife Winnie and his five children. Now, 255 of these letters, many of which have never been published, provide … insight into how Mandela maintained his inner spirits while living in almost complete isolation, and how he engaged with an outside world that became increasingly outraged by his plight"—

First published posthumously in 1987, Pauli Murray’s Song in a Weary Throat was critically lauded, winning the Robert F. Kennedy Book Award and the Lillian Smith Book Award among other distinctions. Yet Murray’s name and extraordinary influence receded from view in the intervening years; now they are once again entering the public discourse. At last, with the republication of this "beautifully crafted" memoir, Song in a Weary Throat takes its rightful place among the great civil rights autobiographies of the twentieth century.

In a voice that is energetic, wry, and direct, Murray tells of a childhood dramatically altered by the sudden loss of her spirited, hard-working parents. Orphaned at age four, she was sent from Baltimore to segregated Durham, North Carolina, to live with her unflappable Aunt Pauline, who, while strict, was liberal-minded in accepting the tomboy Pauli as "my little boy-girl." In fact, throughout her life, Murray would struggle with feelings of sexual "in-betweenness"—she tried unsuccessfully to get her doctors to give her testosterone—that today we would recognize as a transgendered identity.

We then follow Murray north at the age of seventeen to New York City’s Hunter College, to her embrace of Gandhi’s Satyagraha—nonviolent resistance—and south again, where she experienced Jim Crow firsthand. An early Freedom Rider, she was arrested in 1940, fifteen years before Rosa Parks’ disobedience, for sitting in the whites-only section of a Virginia bus. Murray’s activism led to relationships with Thurgood Marshall and Eleanor Roosevelt—who respectfully referred to Murray as a "firebrand"—and propelled her to a Howard University law degree and a lifelong fight against "Jane Crow" sexism. We also read Betty Friedan’s enthusiastic response to Murray’s call for an NAACP for Women—the origins of NOW. Murray sets these thrilling high-water marks against the backdrop of uncertain finances, chronic fatigue, and tragic losses both private and public, as Patricia Bell-Scott’s engaging introduction brings to life.

Now, more than thirty years after her death in 1985, Murray—poet, memoirist, lawyer, activist, and Episcopal priest—gains long-deserved recognition through a rediscovered memoir that serves as a "powerful witness" (Brittney Cooper) to a pivotal era in the American twentieth century.

New York Times Bestseller - Notable Book of the Year - Editors’ Choice Selection
One of Bill Gates’ "Amazing Books" of the Year
One of Publishers Weekly’s 10 Best Books of the Year
Longlisted for the National Book Award for Nonfiction
An NPR Best Book of the Year
Winner of the Hillman Prize for Nonfiction
Gold Winner - California Book Award (Nonfiction)
Finalist - Los Angeles Times Book Prize (History)
Finalist - Brooklyn Public Library Literary Prize

This "powerful and disturbing history" exposes how American governments deliberately imposed racial segregation on metropolitan areas nationwide (New York Times Book Review).

A work that "deeply reconceptualizes the New Deal and raises countless provocative questions" (David Kennedy), Fear Itself changes the ground rules for our understanding of this pivotal era in American history. Ira Katznelson examines the New Deal through the lens of a pervasive, almost existential fear that gripped a world defined by the collapse of capitalism and the rise of competing dictatorships, as well as a fear created by the ruinous racial divisions in American society. Katznelson argues that American democracy was both saved and distorted by a Faustian collaboration that guarded racial segregation as it built a new national state to manage capitalism and assert global power. Fear Itself charts the creation of the modern American state and "how a belief in the common good gave way to a central government dominated by interest-group politics and obsessed with national security" (Louis Menand, The New Yorker).