How do we make sense of what it means to be Black in a world with room for both Michelle Obama and Precious? Tour , an iconic commentator and journalist, defines and demystifies modern Blackness with wit, authority, and irreverent humor. In the age of Obama, racial attitudes have become more complicated and nuanced than ever before. Americans are searching for new ways of understanding Blackness, partly inspired by a President who is unlike any Black man ever seen on our national stage. This book aims to destroy the notion that there is a correct or even definable way of being Black. It’s a discussion mixing the personal and the intellectual. It gives us intimate and painful stories of how race and racial expectations have shaped Tour ’s life as well as a look at how the concept of Post-Blackness functions in politics, psychology, the Black visual arts world, Chappelle’s Show, and more. For research Tour has turned to some of the most important luminaries of our time for frank and thought-provoking opinions, including Rev. Jesse Jackson, Henry Louis Gates Jr., Cornel West, Michael Eric Dyson, Melissa Harris-Lacewell, Malcolm Gladwell, Harold Ford, Jr., Kara Walker, Kehinde Wiley, Chuck D, and many others. Their comments and disagreements with one another may come as a surprise to many readers. Of special interest is a personal racial memoir by the author in which he depicts defining moments in his life when he confronts the question of race head-on. In another chapter—sure to be controversial—he explains why he no longer uses the word “nigga.” Who’s Afraid of Post-Blackness? is a complex conversation on modern America that aims to change how we perceive race in ways that are as nuanced and spirited as the nation itself.

An America in which the color of one's skin no longer matters would be unprecedented. With the election of President Barack Obama in 2008, that future suddenly seemed possible. Obama's rise reflects a nation of fluid populations and fortunes, a society in which a biracial individual could be embraced as a leader by all. Yet complicating this vision are shifting demographics, rapid redefinitions of race, and the instant invention of brands, trends, and identities that determine how we think about ourselves and the place of others. This collection of original essays confronts the premise, advanced by black intellectuals, that the Obama administration marked the start of a "post-racial" era in the United States. While the "transcendent" and post-racial black elite declare victory over America's longstanding codes of racial exclusion and racist violence, their evidence relies largely on their own salaries and celebrity. These essays strike at the certainty of those who insist that life, liberty, and the pursuit of happiness are now independent of skin color and race in America. They argue, signify, and testify that "post-blackness" is a problematic mythology masquerading as fact—a dangerous new "race science" motivated by black transcendentalist individualism. Through rigorous analysis, these essays expose the idea of a post-racial nation as a pleasurable entitlement for a black elite, enabling them to reject the ethics and urgency of improving the well-being of the black majority.

As a young journalist covering black life at large, author Ytasha L. Womack was caught unaware when she found herself straddling black culture's rarely acknowledged generation gaps and cultural divides. Traditional images show blacks unified culturally, politically, and socially, united by race at venues such as churches and community meetings. But in the “post black” era, even though individuals define themselves first as black, they do not necessarily define themselves by tradition as much as by personal interests, points of view, and lifestyle. In Post Black: How a New Generation Is Redefining African American Identity, Womack takes a fresh look at dynamics shaping the lives of contemporary African Americans. Although grateful to generations that have paved the way, many cannot relate to the rhetoric of pundits who speak as ambassadors of black life any more than they see themselves in exaggerated hip-hop images. Combining interviews, opinions of experts, and extensive research, Post Black will open the eyes of some, validate the lives of others, and provide a realistic picture of the expanding community.

A 2008 cover of The New Yorker featured a much-discussed Black Power parody of Michelle and Barack Obama. The image put a spotlight on how easy it is to flatten the Black Power movement as we imagine new types of blackness. Margo Natalie Crawford argues that we have misread the Black Arts Movement's call for blackness. We have failed to see the movement's anticipation of the "new black" and "post-black." Black Post-Blackness compares the black avant-garde of the 1960s and 1970s Black Arts Movement with the most innovative spins of twenty-first century black aesthetics. Crawford zooms in on the 1970s second wave of the Black Arts Movement and shows the connections between this final wave of the Black Arts movement and the early years of twenty-first century black aesthetics. She uncovers the circle of black post-blackness that pivots on the power of anticipation, abstraction, mixed media, the global South, satire, public interiority, and the fantastic.

As a preteen Black male growing up in Mount Vernon, New York, there were a series of moments, incidents and wounds that caused me to retreat inward in despair and escape into a world of imagination. For five years I protected my family secrets from authority figures, affluent Whites and middle class Blacks while attending an unforgiving gifted-track magnet school program that itself was embroiled in suburban drama. It was my imagination that shielded me from the slights of others, that enabled my survival and academic success. It took everything I had to get myself into college and out to Pittsburgh, but more was in store before I could finally begin to break from my past. "Boy @ The Window" is a coming-of-age story about the universal search for understanding on how any one of us becomes the person they are despite-or because of-the odds. It's a memoir intertwined with my own search for redemption, trust, love, success-for a life worth living. "Boy @ The Window" is about one of the most important lessons of all: what it takes to overcome inhumanity in order to become whole and human again.

In this provocative book, writer, and cultural critic Touré explores the concept of Post-Blackness: the ability for someone to be rooted in but not restricted by their race. Touré begins his book by examining the concept of “Post-Blackness,” a term that defines artists who are proud to be Black, but don't want to be limited by identity politics and boxed in by race. He soon discovers that the desire to be rooted in but not constrained by Blackness is everywhere. In Who’s Afraid of Post-Blackness? he argues that Blackness is infinite, that any identity imaginable is Black, and that all expressions of Blackness are legitimate. Here, Touré divulges his own intimate, funny, and painful experiences of how race and racial expectations have shaped his life. He explores how the concept of Post-Blackness functions in politics, society, psychology, art, culture, and more. He knew he could not tackle this topic all on his own so he turned to 105 of the most important luminaries of our time for frank and thought-provoking opinions, including the Reverend Jesse Jackson, Cornel West, Henry Louis Gates Jr., Malcolm Gladwell, Michael Eric Dyson, Melissa Harris-Perry, Harold Ford Jr., Kara Walker, Kehinde Wiley, Glenn Ligon, Paul Mooney, New York Governor David Paterson, Greg Tate, Aaron McGruder, Soledad O'Brien, Kamala Harris, Chuck D, Mumia Abu-Jamal, and many others. By engaging this brilliant, eclectic group, and employing his signature insight, courage, and wit, Touré delivers a clarion call on race in America and how we can change our perceptions for a better future. Destroying the notion that there is a correct way of being Black, Who’s Afraid of Post-Blackness? will change how we perceive race forever.

NATIONAL BESTSELLER • PEN/FAULKNER AWARD FINALIST • From the two-time Pulitzer Prize-winning author of The Underground Railroad and The Nickel Boys: a hilarious and supremely original novel set in the Hamptons in the 1980s, "a tenderhearted coming-of-age story fused with a sharp look at the intersections of race and class” (The New York Times). Benji Cooper is one of the few Black students at an elite prep school in Manhattan. But every summer, Benji escapes to the Hamptons, to Sag Harbor, where a small community of Black professionals have built a world of their own. The summer of ’85 won’t be without its usual trials and tribulations, of course. There will be complicated new handshakes to fumble through and state-of-the-art profanity to master. Benji will be tested by contests big and small, by his misshapen haircut (which seems to have a will of its own), by the New Coke Tragedy, and by his secret Lite FM addiction. But maybe, just maybe, this summer might be one for the ages. Look for Colson Whitehead’s new novel, Crook Manifesto, coming soon!