New Books in African American Studies New Books Network

The largest slave uprising in the 18th century British Caribbean was also a node of the global conflict called the Seven Year’s War, though it isn’t usually thought of that way. In the first few days of the quarantine and our current geopolitical and epidemiological shitshow, John and Elizabeth spoke with Vincent Brown, who recently published Tacky’s Revolt: The Story of an Atlantic Slave War (Harvard UP, 2019), centered on a group of enslaved West Africans, known under the term “Coromantees” who were the chief protagonists in this war.
Tracing the vectors of this war within the Caribbean, the North Atlantic, and West Africa, Vince shows us how these particular enslaved Africans, who are caught in the gears of one of human history’s most dehumanizing institutions, constrained by repressive institutions, social-inscribed categories of differences and brutal force, operate tactically within and across space in complex and cosmopolitan ways.
Vince locates his interest in warfare (as an object of study) in emergence of new world order and disorder through the Gulf Wars. His attention to routes and mobilities he credits to an epidemiological turn of mind–perhaps inherited from his father Willie Brown, a medical microbiologist now retired from UCSD.
The idea of the vector shaped his first book as well. Vince’s “cartographic narrative” “A Slave Revolt in Jamaica: 1760-1761” and the film he produced with director Llewellyn Smith, Herskovits at the Heart of Blackness (which traces African studies and anthropology’s understanding of cultural movements from between Africa and the Americas) also explore these burning questions.
Along the way, Vince discusses C.L.R. James’ notion of conflict, war and global connectedness in The Black Jacobins and the ways that categories of social difference both are constituted by global capital (reminding us of our conversation on caste, class and whiteness with Ajantha Subramanian) and those bumper stickers from the early 1980s in which the Taliban were the good guys.
Mentioned in this episode:


Rambo III (1988)


The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, written by himself (1789)

Aphra Behn, Oroonoko (1688)

Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (2002)

C. L. R. James, The Black Jacobins: Toussaint L’Ouverture and the San Domingo Revolution (1938)

John Thornton, Africa and Africans in the making of the Atlantic World-1400-1800 (1992)


Derrick ‘Black X’ Robinson on his advocacy to make Tacky a national hero in Jamaica

Black X walks barefoot across Jamaica to make Tacky a national hero


Recallable Books:

Marlon James, The Book of Night Women (2009)

John Tutino, Making a New World (2011)

Angel Palerm, The First Economic World-System (1980)


Listen and Read Here: 34 The Caribbean and Vectors of Warfare: Vincent Brown
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Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface.
Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music.
Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu).
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Newburgh is a small postindustrial city of some twenty-eight thousand people located sixty miles north of New York City in the Hudson River Valley. Like many other similarly sized cities across America, it has been beset with poverty and crime after decades of decline, with few opportunities for its predominantly minority residents. 
Sixty Miles Upriver: Gentrification and Race in a Small American City (Princeton UP, 2024) tells the story of how Newburgh started gentrifying, describing what happens when White creative professionals seek out racially diverse and working-class communities and revealing how gentrification is increasingly happening outside large city centers in places where it unfolds in new ways.
As New York City’s housing market becomes too expensive for even the middle class, many urbanites are bypassing the suburbs and moving to smaller cities like Newburgh, where housing is affordable and historic. Richard Ocejo takes readers into the lives of these newcomers, examining the different ways they navigate racial difference and inequality among Newburgh’s much less privileged local residents, and showing how stakeholders in the city’s revitalization reframe themselves and gentrification to cast the displacement they cause to minority groups in a positive light.
An intimate exploration of the moral dilemma at the heart of gentrification, Sixty Miles Upriver explains how progressive White gentrifiers justify controversial urban changes as morally good, and how their actions carry profound and lasting consequences for vulnerable residents of color.
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In Record Cultures: The Transformation of the U.S. Recording Industry (University of Michigan Press, 2020), Kyle Barnett tells the story of the smaller U.S. record labels in the 1920s that created the genres later to be known as blues, country, and jazz.
Barnett also engages the early recording industry as entertainment media, considering the ways in which sound recording, radio, and film converge in the late 1920s. Record Cultures explores Gennett Records and jazz; race records, with a focus on the African American-owned Black Swan Records, as well as the white-owned Paramount Records; the origins of old-time music as a category that will become country; the growth of radio; the intersections of music and film; and the recording industry’s challenges in the wake of the Great Depression.
Kyle Barnett is Associate Professor of Media Studies in the Department of Communication at Bellarmine University.
Kimberly Mack holds a Ph.D. in English from UCLA, and she is an Assistant Professor of African-American literature at the University of Toledo in Ohio. Her book, Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White, is forthcoming from the University of Massachusetts Press in December 2020. Mack is also a music critic who has contributed her work to national and international publications, including Music Connection, Relix, Village Voice, PopMatters, and Hot Press. She published a 2019 essay for Longreads titled “Johnny Rotten, My Mom, and Me.”
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The system of educational apartheid that existed in the United States until the Brown v. Board of Education decision and its aftermath has affected every aspect of life for Black Americans.
Larry Roeder and Barry Harrelson's book Dirt Don't Burn: A Black Community's Struggle for Educational Equality Under Segregation (Georgetown UP, 2023) is the riveting narrative of an extraordinary community that overcame the cultural and legal hurdles of systematic racism. Dirt Don't Burn describes how Loudoun County, Virginia, which once denied educational opportunity to Black Americans, gradually increased the equality of education for all children in the area. The book includes powerful stories of the largely unknown individuals and organizations that brought change to enduring habits of exclusion and prejudice toward African Americans.
Dirt Don't Burn sheds new light on the history of segregation and inequity in American history. It provides new historical details and insights into African American experiences based on original research through thousands of previously lost records, archival NAACP files, and records of educational philanthropies. This book will appeal to readers interested in American history, African American history, and regional history, as well as educational policy and social justice.
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This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.”
Works discussed include Richard Wright’s Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne.
Additional music by Graeme Gibson and Blue the Fifth.
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