SPECIALLY ABRIDGED FOR QUICK READS How does a government steal a child and then imprison him? How does it keep it a secret? This story is how. This story is true. My Name Is Why is a true story about growing up in care and fighting to succeed despite the cruelty and failures of the care system.
'The story [Onyeama] had to tell was so gripping and shocking, it wouldn't let me go . . . A remarkably well-written memoir.' Bernardine Evaristo, from the Introduction Dillibe was the second black boy to study at Eton - joining in 1965 - and the first to complete his education there. Written at just 21, this is a deeply personal, revelatory account of the racism he endured during his time as a student at the prestigious institution. He tells in vivid detail of his own background as the son of a Nigerian judge at the International Court of Justice at The Hague, of his arrival at the school, of the curriculum, of his reception by other boys (and masters), and of his punishments. He tells, too, of the cruel racial prejudice and his reactions to it, and of the alienation and stereotyping he faced at such a young age. A Black Boy at Eton is a searing, ground-breaking book displaying the deep psychological effects of colonialism and racism. A title in the Black Britain: Writing Back series - selected by Booker Prize-winning author Bernardine Evaristo, this series rediscovers and celebrates pioneering books depicting black Britain that remap the nation.
Two long-time friends share an intimate and urgent conversation about life, music and their enduring love of America, with all its challenges and contradictions, in this stunningly-produced expansion of their ground-breaking Higher Ground podcast, featuring more than 350 photographs, exclusive bonus content, and never-before-seen archival material. Renegades: Born in the USA is a candid, revealing, and entertaining dialogue between President Barack Obama and legendary musician Bruce Springsteen that explores everything from their origin stories and career-defining moments to their country's polarized politics and the growing distance between the American Dream and the American reality. Filled with full-colour photographs and rare archival material, it is a compelling and beautifully illustrated portrait of two outsiders-one Black and one white-looking for a way to connect their unconventional searches for meaning, identity, and community with the American story itself. It includes: · Original introductions by President Obama and Bruce Springsteen · Exclusive new material from the Renegades podcast recording sessions · Obama's never-before-seen annotated speeches, including his "Remarks at the 50th Anniversary of the Selma to Montgomery Marches · Springsteen's handwritten lyrics for songs spanning his 50-year-long career · Rare and exclusive photographs from the authors' personal archives · Historical photographs and documents that provide rich visual context for their conversation. In a recording studio stocked with dozens of guitars, and on at least one Corvette ride, Obama and Springsteen discuss marriage and fatherhood, race and masculinity, the lure of the open road and the call back to home. They also compare notes on their favourite protest songs, the most inspiring American heroes of all time, and more. Along the way, they reveal their passion for-and the occasional toll of-telling a bigger, truer story about America throughout their careers, and explore how their fractured country might begin to find its way back toward unity.
What a voice, what a story, what experiences, and what a vital record of the Windrush Generation experience, as told by a skilled teacher who came to Britain to be confronted with racist colour bars in place of the anticipated welcoming arms of the colonial Motherland. Black Teacher is an important, engaging and eye-opening piece of social history, and its author, Beryl Gilroy, has outstanding literary flair - her dialogue and evocation of character is first-class. Born in British Guyana in 1924, Beryl Gilroy arrived in Britain as an experienced, respected teacher and yet, “Here I was, over twenty years later, feeling and acting like a novice. I was afraid to go to school.” So Beryl said to her husband ahead of beginning her second term as the Headmistress of a North London infants school (in 1969, she was Camden’s first black headteacher). And the reason for her trepidation? The school was “full of tense, fighting people,” its pupils disruptive due to boredom and a lack of purpose, with parents who mutter that there’s “nothing but blacks everywhere.” And all this followed years of battling to secure a teaching position - Beryl moved to Britain in 1958 to study Child Development, but found herself continually overlooked for teaching positions. As a result, she took work as in an office, then as a lady’s maid, while never giving up on her vocation. Throughout the author is an inspiration - a loveable, valiant pioneer whose story, resilience and dedication had me enthralled from start to finish.
Whip-smart, incisive and incredibly gripping, Zakiya Dalila Harris’s The Other Black Girl presents a powerful exposé of publishing’s unpleasant underbelly - the elitism, nepotism, poor pay, and petty power-play some senior editors exert over their assistants. Think The Devil Wear Prada with edge - its young editor protagonist wants to publish writers whose voices matter. It’s a world of white gatekeepers, white privilege, with displays of (cue tiny violin) white affront when poor behaviour is called out. And all this is done through twenty-six-year-old editorial assistant Nella Rogers, the only Black employee at New York’s prestigious Wagner Books publishing house. After feeling isolated and exhausted by the everyday micro-aggressions of her workplace, Nella is delighted when Hazel, the “Other Black Girl”, starts working next to her - until Nella starts receiving threatening notes telling her to leave the company, while having to deal with increasingly problematic office politics. Though the novel is set in the publishing world, it will resonate with anyone, for example, who’s doubted the authenticity of their workplace’s commitment to diversity. In Nella’s case, she was part of Wagner Books’ diversity group, but company interest soon waned, with no one really getting the point, or understanding why representation matters - why it matters to get it right. The brutal reality of the company’s lip service attitude to equality and representation is exposed when Nella speaks out about a white male author’s offensively clichéd portrayal of a Black female character. When he (cue another tiny violin) gets upset, feeling accused of racism, she’s expected to apologise. Never mind about his lazy, dubious characterisation - the poor man’s feelings have been hurt, goddammit! That this is nothing new is revealed through the interwoven story of Kendra Rae, Nella’s editorial heroine who blazed inspirational trails before her - but what happened to Kendra after editing a huge bestseller, she wonders? It turns out that as Nella faced a backlash after (gently) calling out her author’s caricature, Kendra’s “sin” was also telling it like it is, being “someone who rejected what was expected of her as a Black woman in a predominantly white industry.” Chiming with wit and vital commentary, this debut is a thrilling feat of fiction, with twists that are impossible to see coming.
Like the very best short stories, Wandeka Gayle’s Motherland and Other Stories are multi-layered, long-lingering, and delivered in a deceptively simple style - vivid vignettes of life from varied corners of the globe with lasting impact that grows over time and draws you back. Many of the tales take turns down unexpected paths - purposeful detours and changes of direction that reveal new truths. Others present intimate, intense portraits of their protagonist’s complex relationship to home (Jamaica). All of them exude elegance and insights into the human condition. In my book, that’s pretty much short story perfection. Though distinct, the twelve stories are united by the courage of their protagonists, and an exploration of what it is to be black in white worlds. In Motherland we meet compassionate Roxanne, who moved from Jamaica and works in a London care home. She encounters racism, but strikes a bond with an elderly writer resident. Then there’s Ayo in Finding Joy, who leaves Jamaica to study in Louisiana and finds agency through personal upheavals “in this foreign place.” Each story, and each woman’s experiences, had me utterly in their thrall.