New Books in African American Studies New Books Network

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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‘The result is that, at the present time, the world is at an impasse.’
In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy’s The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief’s The Age of the Crisis of Man (2015) and Amanda Anderson’s Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers’ efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin’s words, find ‘the power that will free us from ourselves.’
Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University.
Damian Maher is a fellow by examination at All Souls College, University of Oxford.
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Edited by Benjamin Bryce and David Sheinin, Race and Transnationalism in the Americas (University of Pittsburgh Press, 2021), highlights the importance of transnational forces in shaping the concept of race and understanding of national belonging across the Americas, from the late nineteenth century to the present times. The book also examines how race and its categories have functioned as mechanisms of exclusion and inclusion across cultural, political, and social dimensions. The authors across the different chapters examine phenomena such as immigration policies, indigenous decolonization efforts, and governmental colonization endeavors to discuss the intersections between race and both transnational and national elements. New ways to think about what it means to be a citizen, to belong, and to be of a particular race are offered, which prove useful and refreshing in our day and age, marked by considerable migration across borders in the Americas and the politization of racial identities.
Benjamin Bryce is a Professor of History at the University of British Columbia.
David Sheinin is a Professor of History at Trent University.
Ariadna Obregon is a PhD student at the School of Media and Communication at the University of Leeds. On Twitter/X: @AriadnaObregn1
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