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\"This is a story about America during and after Reconstruction, one of history's most pivotal and misunderstood chapters. In a stirring account of emancipation, the struggle for citizenship and national reunion, and the advent of racial segregation, the renowned Harvard scholar delivers a book that is illuminating and timely. Real-life accounts drive the narrative, spanning the half century between the Civil War and Birth of a Nation. Here, you will come face-to-face with the people and events of Reconstruction's noble democratic experiment, its tragic undermining, and the drawing of a new \"color line\" in the long Jim Crow era that followed. In introducing young readers to them, and to the resiliency of the African American people at times of progress and betrayal, Professor Gates shares a history that remains vitally relevant today.\"--Provided by publisher.

While considerable attention has been given to encounters between black citizens and police in urban communities, there have been limited analyses of such encounters in suburban settings. Race, Place, and Suburban Policing tells the full story of social injustice, racialized policing, nationally profiled shootings, and the ambiguousness of black life in a suburban context. Through compelling interviews, participant observation, and field notes from a marginalized black enclave located in a predominately white suburb, Andrea S. Boyles examines a fraught police-citizen interface, where blacks are segregated and yet forced to negotiate overlapping spaces with their more affluent white counterparts.

\"This ... young adult adaptation brings her ideas to a new audience. When America achieves milestones of progress toward full and equal black participation in democracy, the systemic response is a consistent racist backlash that rolls back those wins. We Are Not Yet Equal examines five of these moments: The end of the Civil War and Reconstruction was greeted with Jim Crow laws; the promise of new opportunities in the North during the Great Migration was limited when blacks were physically blocked from moving away from the South; the Supreme Court's landmark 1954 Brown v. Board of Education decision was met with the shutting down of public schools throughout the South; the Civil Rights Act of 1964 and Voting Rights Act of 1965 led to laws that disenfranchised millions of African American voters and a War on Drugs that disproportionally targeted blacks; and the election of President Obama led to an outburst of violence including the death of black teen Michael Brown in Ferguson, Missouri as well as the election of Donald Trump. This YA adaptation will be written in an approachable narrative style that provides teen readers with additional context to these historic moments, photographs and archival images, and additional backmatter and resources for teens\"-- Provided by publisher.

The Common Core State Standards mean major changes for language arts teachers, particularly the emphasis on \"informational text.\" How do we shift attention toward informational texts without taking away from the teaching of literature? The key is informational texts deeply connected to the literary texts you are teaching. Preparing informational texts for classroom use, however, requires time and effort. Using Informational Text to Teach Literature is designed to help. In this second volume (the first volume is on To Kill a Mockingbird), we offer informational texts connected to Lorraine Hansberry's A Raisin in the Sun. Readings range in genre (commencement address, historical and cultural analysis, government report, socioeconomic research study, and Supreme Court decision) and topic (housing discrimination past and present, abortion, the racial and cultural politics of hair, socioeconomic mobility and inequality, the violence associated with housing desegregation, and the struggle against the legacy of systemic racism). Each informational text is part of a student-friendly unit, with reading strategies and vocabulary, writing, and discussion activities. Teachers need to incorporate nonfiction in ways that enhance their teaching of literature.The Using Informational Text to Teach Literature series is an invaluable supportive tool.

\"A picture book in verse that threads together past and present to explore the legacy of slavery during a classroom lesson\"-- Provided by publisher.

The authors had the most fantastic teachable moment when they shared book club time with 24 students they teach at Health Sciences High and Middle College. As they reflect on their conversation with the students, they are convinced that the impetus for the students' interest in what they were reading and discussing with their peers was that they followed the lead of the students when they asked if they could partner with them to choose the texts, the topics, and the assignments for their English class. In this article, the authors detail how this happened. (Contains 3 figures.)

\"A simple biography about Ida B. Wells Barnett for early readers\"--Provided by publisher.

Through the scene of the young rapper being arrested for selling his tapes on the streets and in other scenes, [Reggie, Geoff, Troy] portrays some of the containment strategies and deftly links them to particular economic interests. The voice-over commentary makes it clear that Reggie and his informants in the video are well aware of the implications of these strategies -- 'They trying to just shut us down' -- and of the economic interests these strategies are designed to serve. As the rapper mentioned above noted, 'the reason that hip hop is out like it is is that somebody is getting their pay cut.' He went on to detail ways that major music industry labels don't want independent entrepreneurs producing and selling their own creations because that siphons off their profit potential. He uses an example of a tape he had purchased on the street for five dollars and notes that 'all money that they git goes to they pockets so they can re-cop, you know what I'm sayin'.' This kind of critique is akin to what Cornell West (1993: b65) had in mind when he noted that some rap artists 'attempt to do what I attempt to do, as a public intellectual. And that is, to tell the truth... There is no doubt that there's a very, very powerful critique of white supremacy in the work.' Through the 'public intellectuals' that Reggie brings into his script, he exposes the paradox of capitalist motives to both contain and exploit the cultural material of hip hop and rap. The structure of this rap does not follow an AB AB rhyme scheme found in many raps. In fact, some lines do not rhyme at all. Troy was also prolific in his use of highly figurative African American language styles. Throughout his rap songs he used words such as 'skrill' (cash), which was a combination of the terms 'scratch' and 'mill.' 'Scratch' was an earlier African American term that meant money, and 'mill' was short for 'million,' or it could also refer to a 'meal ticket.' Within African American language styles, new words and phrases are often created in this fashion as users of the language constantly experiment with ways to better express themselves. Troy used other rhetorical devices reflective of certain African American language styles. For example, when he used the line 'you don't feel me doe' (though), he did so to emphasize his point in a way that was similar to black preaching. [Keisha]'s play offers an intricate plot, rounded characters, and complex thematic considerations. For each scene, she also includes directorial notes and specifications for appropriate background music. Keisha allows her intended audience to clearly picture Ms. G as she 'gets an attitude' and 'puts her hand on her hip.' Keisha thought out every movement and emotion that she wanted her characters to feel and her readers /audiences to see. As in her poems and songs, the screenplay reveals sophisticated rhetorical devices, such as her use of foreshadowing to provide subtle clues to the surprising end. For example, at one point Ms. G said to [Robert], 'You and Rocheed always act like ya' handicapped and always looking for me to do everything. Well, one day I ain't gon' be here, then who you gon' be danging and telling it ain't no milk?' Later, when Robert informed his friends of his decision to start banging, his brother's girlfriend, Shyra, responded by saying, 'Why you gon' do yo' momma like this?' While Shyra was reacting to the fact that Robert was starting to hang out with the gang, which was a disgrace to his mother, her comment also prefigured the ending. 'Jus Living' was a remarkable dramatic piece, but the real drama was the extent to which its scenes may have been collateral to scenes in Keisha's life.

\"In 1963, more than 30 African American girls, ages 11-14, were arrested for taking part in Civil Rights protests in Americus, Georgia. Then came a greater ordeal: confinement in a Civil-War-era stockade.\"--Provided by publisher.