In nineteenth-century Santiago de Cuba, the island of Cuba's radical cradle, Afro-descendant peasants forged freedom and devised their own formative path to emancipation. Drawing on understudied archives, this pathbreaking work unearths a new history of Black rural geography and popular legalism, and offers a new framework for thinking about nineteenth-century Black freedom. Santiago de Cuba's Afro-descendant peasantries did not rely on liberal-abolitionist ideologies as a primary reference point in their struggle for rights. Instead, they negotiated their freedom and land piecemeal, through colonial legal frameworks that allowed for local custom and manumission. While gradually wearing down the institution of slavery through litigation and self-purchase, they reimagined colonial racial systems before Cuba's intellectuals had their say. Long before residents of Cuba protested for national independence and island-wide emancipation in 1868, it was Santiago's Afro-descendant peasants who, gradually and invisibly, laid the groundwork for emancipation.

A rich, pathbreaking study on nineteenth-century rural Cuba, and how Afro-descendant peasants forged freedom through litigation and land occupation.

A young slave stitches a quilt with a map pattern which guides her to freedom in the north.

While her father leads her toward Canada and away from the plantation where they have been slaves, a young girl thinks of the quilt her mother used to teach her a code that will help guide them to freedom.

A revolutionary new way to understand America's complex cultural and political landscape, with proof that local communities have a major impact on the nation's behavior-in the voting booth and beyond. In a climate of culture wars and tremendous economic uncertainty, the media have often reduced America to a simplistic schism between red states and blue states. In response to that oversimplification, journalist Dante Chinni teamed up with political geographer James Gimpel to launch the Patchwork Nation project, using on-the-ground reporting and statistical analysis to get past generalizations and probe American communities in depth. The result is Our Patchwork Nation, a refreshing, sometimes startling, look at how America's diversities often defy conventional wisdom. Looking at the data, they recognized that the country breaks into twelve distinct types of communities, and old categories like "soccer mom" and "working class" don't matter as much as we think. Instead, by examining Boom Towns, Evangelical Epicenters, Military Bastions, Service Worker Centers, Campus and Careers, Immigration Nation, Minority Central, Tractor Community, Mormon Outposts, Emptying Nests, Industrial Metropolises, and Monied Burbs, the authors demonstrate the subtle distinctions in how Americans vote, invest, shop, and otherwise behave, reflect what they experience on their local streets and in their daily lives. Our Patchwork Nation is a brilliant new way to debate and examine the issues that matter most to our communities, and to our nation.

The original book on the renowned Freedom quilters of Gee's Bend In December of 1965, the year of the Selma-to-Montgomery march, a white Episcopal priest driving through a desperately poor, primarily black section of Wilcox County found himself at a great bend of the Alabama River. He noticed a cabin clothesline from which were hanging three magnificent quilts unlike any he had ever seen. They were of strong, bold colors in original, op-art patterns—the same art style then fashionable in New York City and other cultural centers. An idea was born and within weeks took on life, in the form of the Freedom Quilting Bee, a handcraft cooperative of black women artisans who would become acclaimed throughout the nation.

Twenty years ago Valerie Flournoy and Jerry Pinkney created a warmhearted intergenerational story that became an award-winning perennial. Since then children from all sorts of family situations and configurations continue to be drawn to its portrait of those bonds that create the fabric of family life.