Negrophobia And Reasonable Racism

Jody Armour believes that, despite the fact that most whites today are racially well intentioned, race-based mistrust and misunderstanding pose one of the greatest obstacles to racial harmony in contemporary America. Beset by media images of black criminality, whites consistently cite statistics, trends, and past experiences to support their deep distrust of backs, a distrust blacks deeply resent. Negrophobia and Reasonable Racism is a crucial book, at a crucial time, just as white America is gradually coming to understand the hidden travails of African American life: the suspicious glances in department stores, the baseless questioning by police, the inability to get a taxi. Armour shows convincingly how this phenomenon has been so persistent as to constitute, literally, a tax on African Americans, sapping them of resources, opportunity, time, and energy. Skillfully drawing on a wide range of referents, from Greek mythology to Thomas Bayes, the father of statistics, armour plumbs our racial psychology and in the process exposes the racialized nature of our daily life and of our legal system. Unlike so much recent writing on race in America, Jody Armour's book is no plaintive cry of despair. His perspective is rooted in a measured, even hopeful belief that we both must and can overcome racial bias. Toward that end, he introduces specific ways in which we can overcome the unconscious discrimination and the automatic negative responses that tax blacks and so trouble progressive whites.

Interrogates conventional assumptions and frames a transformational new way of thinking about law, language, moral judgments, politics, and transgressive art - especially profane genres like gangsta rap - and exposes where racial bias lives in the administration of justice and everyday life

A provocative, raucous dark comedy about race and racism in America, now back in print after twenty-five years and with a new preface by the author. Darius James’s scabrous, unapologetically raunchy, truly hilarious, and deeply scary Negrophobia is a wild-eyed reckoning with the mutating insanity of American racism. A screenplay for the mind, a performance on the page, a work of poetry, a mad mix of genres and styles, a novel in the tradition of William S. Burroughs and Ishmael Reed that is like no other novel, Negrophobia begins with the blonde bombshell Bubbles Brazil succumbing to a voodoo spell and entering the inner darkness of her own shiny being. Here crackheads parade in the guise of Muppets, Muslims beat conga drums, Negroes have numbers for names, and H. Rap Remus demands the total and instantaneous extermination of the white race through spontaneous combustion. By the end of it all, after going on a weird trip for the ages, Bubbles herself is strangely transformed.

"Perhaps the most explosive and troublesome phenomenon at the nexus of race and crime is the racial hoax - a contemporary version of The Boy Who Cried Wolf. Examining both White-on-Black hoaxes such as Susan Smith's and Charles Stuart's claims that Black men were responsible for crimes they themselves committed, and Black-on-White hoaxes such as the Tawana Brawley episode, Russell illustrates the formidable and lasting damage that occurs when racial stereotypes are manipulated and exploited for personal advantage. She shows us how such hoaxes have disastrous consequences and argues for harsher punishments for offenders."--BOOK JACKET.

Why do American ghettos persist? Scholars and commentators often identify some factor—such as single motherhood, joblessness, or violent street crime—as the key to solving the problem and recommend policies accordingly. But, Tommie Shelby argues, these attempts to “fix” ghettos or “help” their poor inhabitants ignore fundamental questions of justice and fail to see the urban poor as moral agents responding to injustice. “Provocative...[Shelby] doesn’t lay out a jobs program or a housing initiative. Indeed, as he freely admits, he offers ‘no new political strategies or policy proposals.’ What he aims to do instead is both more abstract and more radical: to challenge the assumption, common to liberals and conservatives alike, that ghettos are ‘problems’ best addressed with narrowly targeted government programs or civic interventions. For Shelby, ghettos are something more troubling and less tractable: symptoms of the ‘systemic injustice’ of the United States. They represent not aberrant dysfunction but the natural workings of a deeply unfair scheme. The only real solution, in this way of thinking, is the ‘fundamental reform of the basic structure of our society.’” —James Ryerson, New York Times Book Review

“A well-supported critique of therapeutic policing and, by extension, of similar paternalistic efforts to help the poor by hassling them into good behavior.” —Los Angeles Times In his first year working in Los Angeles’s Skid Row, Forrest Stuart was stopped on the street by police fourteen times. Usually for doing little more than standing there. Juliette, a woman he met during that time, has been stopped by police well over one hundred times, arrested upward of sixty times, and has given up more than a year of her life serving week-long jail sentences. Her most common crime? Simply sitting on the sidewalk—an arrestable offense in LA. Why? What purpose did those arrests serve, for society or for Juliette? How did we reach a point where we’ve cut support for our poorest citizens, yet are spending ever more on policing and prisons? That’s the complicated, maddening story that Stuart tells in Down, Out & Under Arrest, a close-up look at the hows and whys of policing poverty in the contemporary United States. What emerges from Stuart’s years of fieldwork—not only with Skid Row residents, but with the police charged with managing them—is a tragedy built on mistakes and misplaced priorities more than on heroes and villains. At a time when distrust between police and the residents of disadvantaged neighborhoods has never been higher, Stuart’s book helps us see where we’ve gone wrong, and what steps we could take to begin to change the lives of our poorest citizens—and ultimately our society itself—for the better.

Traces the origins of the black rage defense in criminal court history In 1971, Paul Harris pioneered the modern version of the black rage defense when he successfully defended a young black man charged with armed bank robbery. Dubbed one of the most novel criminal defenses in American history by Vanity Fair, the black rage defense is enormously controversial, frequently dismissed as irresponsible, nothing less than a harbinger of anarchy. Consider the firestorm of protest that resulted when the defense for Colin Ferguson, the gunman who murdered numerous passengers on a New York commuter train, claimed it was considering a black rage defense. In this thought-provoking book, Harris traces the origins of the black rage defense back through American history, recreating numerous dramatic trials along the way. For example, he recounts in vivid detail how Clarence Darrow, defense attorney in the famous Scopes Monkey trial, first introduced the notion of an environmental hardship defense in 1925 while defending a black family who shot into a drunken white mob that had encircled their home. Emphasizing that the black rage defense must be enlisted responsibly and selectively, Harris skillfully distinguishes between applying an environmental defense and simply blaming society, in the abstract, for individual crimes. If Ferguson had invoked such a defense, in Harris's words, it would have sent a superficial, wrong-headed, blame-everything-on-racism message. Careful not to succumb to easy generalizations, Harris also addresses the possibilities of a white rage defense and the more recent phenomenon of cultural defenses. He illustrates how a person's environment can, and does, affect his or her life and actions, how even the most rational person can become criminally deranged, when bludgeoned into hopelessness by exploitation, racism, and relentless poverty.

Beauvoir in Time situates Simone de Beauvoir's The Second Sex in the historical context of its writing and in later contexts of its international reception, from then till now. The book takes up three aspects of Beauvoir's work more recent feminists find embarrassing: "bad sex," "dated" views about lesbians, and intersections with race and class. Through close reading of Beauvoir's writing in many genres, alongside contemporaneous discourses (good and bad novels in French and English, outmoded psychoanalytic and sexological authorities, ethnographic surrealism, the writing of Richard Wright and Franz Fanon), and in light of her travels to the U.S. and China, the author uncovers insights more recent feminist methodologies obscure, showing that Beauvoir is still good to think with today.