Front Table 3/10/2023

Why have white supremacists and Black activists been so focused on Black mobility? From Plessy v. Ferguson to #DrivingWhileBlack, African Americans have fought for over a century to move freely around the United States. Curious as to why so many cases contesting the doctrine of “separate but equal” involved trains and buses, Mia Bay went back to the sources with some basic questions: How did travel segregation begin? Why were so many of those who challenged it in court women? How did it move from one form of transport to another, and what was it like to be caught up in this web of contradictory rules? From stagecoaches and trains to buses, cars, and planes, Traveling Black explores when, how, and why racial restrictions took shape and brilliantly portrays what it was like to live with them. “There is not in the world a more disgraceful denial of human brotherhood than the ‘Jim Crow’ car of the southern United States,” W. E. B. Du Bois famously declared. Bay unearths troves of supporting evidence, rescuing forgotten stories of undaunted passengers who made it back home despite being insulted, stranded, re-routed, or ignored.

When T. S. Eliot published The Waste Land in 1922, it put the thirty-four-year-old author on a path to worldwide fame and the Nobel Prize. “But,” as Jed Rasula writes, “The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern.” In What the Thunder Said, Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music. What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot’s storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the “men of 1914.”

You Don’t Know Us Negroes is the quintessential gathering of provocative essays from one of the world’s most celebrated writers, Zora Neale Hurston. Spanning more than three decades and penned during the backdrop of the birth of the Harlem Renaissance, Montgomery bus boycott, desegregation of the military, and school integration, Hurston’s writing articulates the beauty and authenticity of Black life as only she could. Collectively, these essays showcase the roles enslavement and Jim Crow have played in intensifying Black people’s inner lives and culture rather than destroying it. She argues that in the process of surviving, Black people re-interpreted every aspect of American culture—"modif[ying] the language, mode of food preparation, practice of medicine, and most certainly religion.” White supremacy prevents the world from seeing or completely recognizing Black people in their full humanity and Hurston made it her job to lift the veil and reveal the heart and soul of the race. These pages reflect Hurston as the controversial figure she was—someone who stated that feminism is a mirage and that the integration of schools did not necessarily improve the education of Black students. Also covered is the sensational trial of Ruby McCollum, a wealthy Black woman convicted in 1952 for killing her lover, a white doctor.

The pursuit of happiness weaves disparate strands of Anglo-American religious history together. In The Delight Makers, Catherine L. Albanese unravels a theology of desire tying Jonathan Edwards to Ralph Waldo Emerson to the religiously unaffiliated today. As others emphasize redemptive suffering, this tradition stresses the “metaphysical” connection between natural beauty and spiritual fulfillment. In the earth’s abundance, these thinkers see an expansive God intent on fulfilling human desire through prosperity, health, and sexual freedom. Through careful readings of Cotton Mather, Andrew Jackson Davis, William James, Esther Hicks, and more, Albanese reveals how a theology of delight evolved alongside political overtures to natural law and individual liberty in the United States.