A classic in the black literary tradition, The Spook Who Sat by the Door is both a comment on the civil rights problems in the United States in the late 1960s and a serious attempt to focus on the issue of black militancy. Dan Freeman, the "spook who sat by the door," is enlisted in the CIA's elitist espionage program. Upon mastering agency tactics, however, he drops out to train young Chicago blacks as "Freedom Fighters" in this explosive, award-winning novel. As a story of one man's reaction to ruling-class hypocrisy, the book is autobiographical and personal. As a tale of a man's reaction to oppression, it is universal.

"The spook who sat by the door is a hard-hitting shocker that depicts a world in which the long suppressed black man fights back with a vengeance."--page [4] of cover.

The first book from “a tireless champion of African history,” a novel that “challenged the theories that Blacks were inferior to whites” (New York Amsterdam News). Joel Augustus Roger’s seminal work from the Harlem Renaissance, this novel—first published in 1917—is a polemic against the ignorance that fuels racism. The central plot revolves around a train speeding to California, serviced by an African American porter named Dixon. On board is a United States senator from Oklahoma, a man obsessed by race who makes no attempts to hide his prejudice. Unable to sleep, the politician encounters Dixon in the smoking car, and thus ensues a debate about religion, science, and racial equality . . . “A bold discussion novel in which a cultured, well-travelled, black Pullman porter is drawn into a debate with a white passenger, a Southern senator, on the question of the superiority of the Anglo Saxon and the inferiority of the Negro.” —The Guardian “A genuine treasure. I still insist that From ‘Superman’ to Man is the greatest book ever written in English on the Negro by a Negro and I am glad to know that increasing thousands of black and white readers re-echo the high opinion of it which I had expressed some years ago.” —Hubert Henry Harrison “A stirring story, faithful to truth and helpful to a better understanding and feeling.” —Prof. George B. Foster, University of Chicago

Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the intensity of social and political upheaval during a volatile period in American history. Based on Sam Greenlee's novel by the same name, the film is a searing portrayal of an American Black underclass brought to the brink of revolution. This series of critical essays situates the film in its social, political, and cinematic contexts and presents a wealth of related materials, including an extensive interview with Sam Greenlee, the original United Artists' press kit, numerous stills from the film, and the original screenplay. This fascinating examination of a revolutionary work foregrounds issues of race, class, and social inequality that continue to incite protests and drive political debate.

WINNER OF THE EISNER AWARD • A bold and fascinating graphic novel history of the revolutionary Black Panther Party. Founded in Oakland, California, in 1966, the Black Panther Party for Self-Defense was a radical political organization that stood in defiant contrast to the mainstream civil rights movement. This gripping illustrated history explores the impact and significance of the Panthers, from their social, educational, and healthcare programs that were designed to uplift the Black community to their battle against police brutality through citizen patrols and frequent clashes with the FBI, which targeted the Party from its outset. Using dramatic comic book-style retellings and illustrated profiles of key figures, The Black Panther Party captures the major events, people, and actions of the party, as well as their cultural and political influence and enduring legacy.

Zac lives with his grandfather, Pops. When Pops is killed by muggers, Zac is devastated. Dumped with foster parents, then in an orphanage, Zac stumbles from trouble to trouble, but the one thing he hangs on to is Pops' obsession with their family history and his ambition to go to Ghana in search of a ransom paid by a descendant 200 years earlier, to keep his son from slavery - a ransom stolen by British government agents at the time, which then disappeared. At least, Zac thinks, he can keep faith with Pops by continuing his quest. So Zac wangles his own way to Ghana. Alone and far from home, he discovers that Pops' death and everything since is part of a wider plan by some shadowy others, also connected to the lost ransom. In a web of intrigue, deception, betrayal, skulduggery and murder that reaches out of the past to entrap everyone in the present, Zac's quest culminates in a perilous voyage to the Door of No Return in the walls of the ancient slave fort - through which the slaves were once herded to the boats that would take them across the ocean, on a journey many of them would never survive.