foundation author

Psychology Book Recommendations

Foundational Authors & Works

Carl Rogers, On Becoming a Person

B. F. Skinner,  Beyond Freedom and Dignity and About Behaviorism and Walden Two

Viktor Frankl, Man’s Search for Meaning

Sigmund Freud, Civilization and its Discontents

John Norcross (editor), Evidence-Based Practices in Mental Health

Psychopathology & Diagnosis 

David Barlow (editor), Clinical Handbook of Psychological Disorders

Oliver Saks, Hallucinations

Kelly Lambert, Clinical Neuroscience

Criticisms & Controversial Topics

Stephen Hinshaw, The ADHD Explosion

Robert Whitaker, Mad in America and Anatomy of an Epidemic

Ronald Miller, Not So Abnormal Psychology

Allen Frances, Saving Normal

Bruce Wampold, The Great Psychotherapy Debate

Therapy Theories 

Carl Rogers, Client-Centered Therapy

Irvin Yalom, The Theory and Practice of Group Psychotherapy

Aaron Beck, Cognitive Therapy of Depression

Steven Hayes, Acceptance and Commitment Therapy

Judith Beck, Cognitive Behavioral Therapy

Danny Wedding, Current Psychotherapies

William Miller, Motivational Interviewing

Jacqueline Person, Cognitive Therapy in Practice

Evidence-Based Therapy Manuals 

Marsha Linehan, DBT Skills Training Manual and Cognitive Behavioral Treatment of Borderline Personality Disorder

Michelle Craske, Mastery of Your Anxiety and Panic

David Burns, Feeling Good

Richard Zinbarg, Mastery of Your Anxiety and Worry

Martha Davis, The Relaxation and Stress Reduction Workbook

Lisa Najavitis, Seeking Safety

Expert Therapist Perspectives

Irvin Yalom, The Gift of Therapy and Love’s Executioner

First Person Perspectives

Kay Jamison, An Unquiet Mind

Elyn Saks, The Center Cannot Hold

William Styron, Darkness Visible

Carolyn Spiro and Pamela Spiro Wagner, Divided Minds

Research Design & Analysis

Alan Kazdin, Research Design in Clinical Psychology and Single-Case Research Designs

John Creswell, Qualitative Inquiry and Research Design

Culture & Diversity

Derald Wing Sue, Counseling the Culturally Diverse and Case Studies in Multicultural Counseling and Therapy


Stephen Hinshaw, Breaking the Silence and  The Mark of Shame

Grad School and Careers in Psychology

Peggy Hawley, Being Bright is Not Enough

Adam Ruben, Surviving Your Stupid, Stupid Decision to Go to Grad School

Peter Feibelman, A PhD is Not Enough

Paul Silva, How to Write A Lot

Karen Kelsky, The Professor Is In 

Ford Meets SCP-999

If you know who/what SCP-999 is….then you know what kind of artwork I’m gonna draw soon. If you don’t, here’s a hint:

I ship Ford + Laughing…hard.

Originally posted by gifs-for-the-masses

“We can tell great, adventurous stories and talk about painful truths in a contemporary context. Racism and racial violence are still abundant today, and we need to address it in literature.” - Daniel José Older

BookUp faculty Daniel José Older recently published the young adult novel, Shadowshaper, to widespread critical acclaim. Shadowshaper follows Sierra Santiago, a young Puerto Rican muralist in Brooklyn whose paintings come to life. 

Shadowshaper received starred reviews from both Publishers Weekly and Kirkus. The NY Times praised it as an example of the “best urban fantasy,” portraying Brooklyn as a city under threat from gentrification and police violence.

Below, Older shares his thoughts on how the YA book industry has changed, the role of diversity in children’s literature, and the importance of listening in the creative process. 

Keep reading

An Introduction to 3 Foundational Authors of Hard-Boiled Detective Fiction, With Several Digressions

Dashiell Hammett was one of the only pulp detective authors to have actually worked as a detective, with the Pinkerton National Detective Agency, back when it was basically a countrywide mercenary police organization. The Pinkertons were actually closer to modern police than their official contemporaries in the machine politics era, who tended to fall somewhere between patronage-hire watchmen and the mayor (or sheriff)’s sanctioned gang. The establishment of the FBI was in many ways a nationalization of the Pinkertons, with key figures brought on as advisors, replicating the network of local bureaus with focuses on both investigation and the infiltration and undermining of labor radicalism. Big city police forces then remodeled themselves after the FBI - famously the LAPD under William Parker (the NYPD had professionalized already under Teddy Roosevelt, and Chicago managed to preserve its machine structure).

This process continued into the early 1970s, as the RFK/FBI-led attempt to shatter the Mafia shook out. This was part of the mid-20th century American centralization of power. If you’re ever tempted to look with contempt upon modern African states, or pre-Mao China, or pre-unification Germany, keep in mind that America was largely structured as a loose coalition of local bandit-warlords until the 1960s. At the national level, civil rights laws and the attempt to merge the two (black/white) American nations were as much a cynical front for advancing this centralization as they were an honest idealism. And not without cost - organized crime, and the permeable borders between that and urban politics, were one of the major mechanisms by which immigrant groups were integrated to and advanced within the American system, a way to translate sheer numbers and cultural affinity into structural power. American blacks largely fit the immigrant pattern, if you date “arrival” to the Great Migration, but then stall out in the ‘70s-‘80s, and a lot of that has to do with RICO laws, post-60s reformist idealism, and the nationally-sponsored “war on crime” blocking this path. In an earlier world, black local politicians and street gangs would form alliances, eventually using patronage to co-opt and take over police forces, and extract rents that would be partially redistributed down the machine ladder. As is, you still have corruption, but it accrues to politicians, pastors and other organizers, and white property developers, without trickling down to street level.

You can quote me on that - the sorry state of American blacks is because criminal gangs are too weak and police aren’t corrupt and brutally extralegal enough.

What was I saying? Dashiell Hammett. Lived in San Francisco and set his fiction there. Was an actual private investigator, and accordingly has a strong focus on tradecraft, especially with the nameless “Continental Op”, employee of a fictionalized Pinkerton, protagonist of some of his books and most of his stories. Though the climaxes could get colorful, the Op’s assignments - quietly track down a runaway heiress, locate a fled embezzler - and methods - use 3-man teams to tail people on the street, question and dig up background on the target’s acquaintances, sit around and eavesdrop on conversations - were true to actual practice. (Hammett said the major difference is that what his characters accomplished in a week would in reality take several months, while they worked multiple cases in between).

While the Op was proudly professional (a recurring theme being his contempt for hotel staff “detectives”) but otherwise opaque, Hammett pioneered detective characterization with other characters. Where the Op was based on actual detectives he worked with, Sam Spade (protagonist of The Maltese Falcon) was based on those detectives’ romantic self-image, and his stoic facade, cynical chivalry, and romantic entanglements were a *huge* influence on later writers. Nick and Nora Charles, based on Hammet and his beloved, playwright Lillian Hellman, mixed investigation with screwball banter in a more lighthearted tone, and can be considered the predecessor of Maddie and David (of Moonlighting), Mulder & Scully, and even non-(explicitly-)romantic buddy partnerships like Crockett & Tubbs.

Hammett’s real-life experience exposed him to less picturesque aspects of the private investigator’s role in society as well. He complained that employers doing background checks were interested in issues of moral character that, gambling debts aside, had no correlation to trustworthiness, and he especially disliked working to suppress labor agitation. Starting as a Pinkerton agent, Hammett ended up being blacklisted and imprisoned as an enthusiastic communist activist.

Next is Raymond Chandler, the most literary of the detective greats. Where Hammett had been an actual PI, and reflected it in his writing, Chandler was a cuttingly observant man who retreated into drink because he was way too intelligent and cynical for Los Angeles, and reflected it in his. His Phillip Marlowe inhabited a thinly-to-the-point-of-pointlessly veiled LA, and passes through it with gimlet eye and poison tongue, all backhanded compliments and sideways insults. Hard-boiled fiction’s love of brilliant turns of phrase, of meandering digressions that end with a surprise punch to the gut, largely comes from him.

While at first glance Marlowe might seem to perform the duties of a detective same as the Op, on close examination you realize that none of what transpires has anything to do with his intentions, and that the plot is moved along by coincidences he encounters while out on assignment, with the ultimate plot of a tale usually about as unrelated to the inciting incident as in golden age Simpsons. This is equally true of The Big Lebowski, which is a loving Chandler tribute, and Chandler himself parodies this (and his/Marlowe’s booziness) in one of his later stories in which the plot is advanced by the things his protagonist literally runs into while drunk driving around LA.

Chandler’s novels are usually composed of the plots of 3 or 4 of his short stories banged together, but that’s fine, because the plot was never the thing, the meat being the wonderful language, setting, and characterizations, which were crafted anew. You can still to this day drive around LA and discover most of the places he described, looking exactly as stated. And while I can’t speak to his period accuracy, I was myself once a too intelligent, cynical Angelino writer for a while, to the point I avoided leaving home sober, and I can confirm that the kind of person who inhabits LA, their nature and motivations, are exactly as he laid out back then.

Chandler’s output eventually trailed off. One story, appearing years after any others, reads like absolutely terrible Chandler pastiche. Scholars disagree whether this was the product of an alcoholic wreck of a man who had known better than to try to publish anything for years but needed the money, or his wife pretending to be him because he was an alcoholic wreck of a man incapable of even writing anymore but needed the money.

If you’re only going to read one of these three, read Chandler.

Finally, a bit of a contrast in Mickey Spillane. Spillane’s famous recurring detective character was Mike Hammer. Given the name, you might not be surprised to learn he spent less time in cautiously piecing together mysteries than punching communists in the jaw, in much the same way Captain America spent a lot of time punching Nazis in the jaw. Actually, Spillane had been a writer for Captain America in the ‘40s. Actually, the character was originally written as a comic book protagonist named “Mike Danger”. Beyond communism, Hammer often found himself arrayed against such other corrupt and corrupting trappings of the decadent elite as drugs, psychotherapy, and trial by jury.

Spillane’s writing was, I’ll say, not up to the level of Hammett or Chandler, though he has been favorably cited by prominent writers like Ayn Rand and Frank Miller. If you look at pulp of the time though, he’s appreciably above average. Pulp… basically the closest parallel we have to pulp today is fanfiction, in terms of its average quality, low cost of production and consumption, sheer volume, and the rate at which it produces critical and commercial successes. And dear god, the smuttiness. Mike Hammer banged a lot of the broads he ran into. Before barefacedly honest pornography became as ubiquitous as it is, pulp filled the role of mainstream erotic product, with much detective pulp serving the same “drugstore-available erotica” role for men that romance pulp did for women. (Appreciating this makes the “Seduction of the Innocent” comic book scare about drugstore-available pulp for kids a bit more comprehensible).

This crossed over into other formats like cinema - Deep Throat, Beyond the Green Door, and The Devil in Miss Jones were all received as at least in the same ballpark as mainstream releases, and up into the ’80s, pornographic movies had plots and runtimes that roughly approximated Hollywood product, and even in the ‘90s, softcore product at least had narrative framing devices. Between gonzo and DVD nonlinearity and the internet and the collapse of obscenity prosecution against which to offer artistic content as defense that’s faded, though as the Valley studio system’s share of the industry shrinks you’re seeing them play to their strengths in production values and plot (particularly with parody content, Tijuana Bible/H-Doujinshi-style).

On the other hand you had whole parapornographic mainstream subgenres as the erotic thriller, the rape-revenge drama, the teen sex comedy - American Pie was released in 1999, which was really pushing the limit at which it was worth it to watch 90 minutes of material for the chance to briefly see a bare-chested girl masturbating. (It’s still worth it to hear Alyson Hannigan talking dirty, though.)

The one thing that pulp still has a hold on is violence. (In addition to the jaw, there are many loving passages of Hammer battering guys in the crotch.) While splatter-horror may be a flourishing niche genre, with regular DVD releases, it’s still that, a niche genre, and not the mega-industry of pornography. Video games yes, but detective pulp and “true crime” genres have mostly just migrated to another medium and become hourlong police procedurals like CSI or Law & Order, offering the same thrills of vicarious brutality masked by the fig leaf of nominal identification with the forces of law and order. (Though cable antihero dramas and serial killer procedurals like Dexter and Hannibal seem to be moving a half- to full step beyond that.)

Mickey Spillane. Ah, fuck it, I don’t have anything else to say about Mickey Spillane.

Item #: SCP-5000

Object Class: Keter

Special Containment Procedures: SCP-5000 is not currently under Foundation Security, and if any information provided on the where abouts of SCP-5000 is found, Mobile Task Force Delta-5 will be dispatched to contain SCP-5000.

Description: SCP-5000 is three seperate beings: 2 Caucasian Adult Males (SCP-5000-1 and -2 respectively.) and one Dell Computer. (SCP-5000-3) SCP-5000-1 and SCP-5000-2 are capable of creating creatures worthy of SCP classification and the Foundations care with the Usage of SCP-5000-3. It is unknown how they do this, but the Foundation has been unable to track them down through traditional methods. Under their own description, as well as their creations, they are known as the “Monster Factory.”

SCP-5000’s existence was first documented in [REDACTED] when SCP-[REDACTED] was discovered attempting to live a normal life in [REDACTED], but was reported almost immedietely to the Authorities. The Foundation has documented all such creations since, and connected them together to all be creations of SCP-5000. A log of their uniquie creations of each “Monster” has been found, along with the “Monsters”

SCP-5000-1 and SCP-5000-2 call eachother brother, and it is assumed they are blood related. Their creations are never formed while both are in person. SCP-5000-2 communicates with SCP-5000-1 through its own computer, but this computer seems to hold no anomoulous properties. SCP-5000-1 designates itself as “Griffin Mcelroy” and SCP-5000-2 designates itself as “Justin Mcelroy”

The creatures that SCP-5000 has created are listed and require Level 2 Researcher Access.

- SCP-5415 (“Squirtle”) Euclid
- SCP-51215 (“G.A.R.F.I.E.L.D”) Euclid
- SCP-52915 (“Two Dads ^2”/ “Dark Vader”/ “Daytrader Vader”/ “Cousin Specialagent”) Safe / Neutralized
- SCP-6415 (“D-Bomb”) Keter
- SCP-62915 (“The Pebble”) Safe
- SCP-71315 (“Truck Shepard”) Euclid
- SCP-8715 (“Dino Lansbury”) Safe
- SCP-91115 (“Boy-Mayor”/ “Tostinos”) Safe
- SCP-101215 (“Toucan Dan”) Euclid
- SCP-102715 (“Chiquita Dave”) Thaumiel
- SCP-111215 (“The Final Pam”/ “Trash Hulk”) Keter / Safe
- SCP-11416 (“Borth Sompson”) Euclid
- SCP-12916 (“Randy Johnson” / “PanPan” ) Euclid
- SCP-21116 (“Rat Baby”/ “Succotash”) Euclid
- SCP-3716 (“#noid” / “Arbys Witch”) Euclid
- SCP-32916 (“Jorstin”) Safe
- SCP-41516 (“The Junker”) Euclid
- SCP-62416 (“Melissa”) Safe
- SCP-7816 (“Daz”) Safe
- SCP-72216 (“Trullbus”) Euclid
- SCP-8916 (“Ja'am”/ “Shreck”/ “Buzbo”) Neutralized / Euclid

Brian Jacques

Brian Jacques paces through Starbucks with a napkin in his hand, sweeping all the crumbs from the tables as he passes by. At first the barista thinks he’s either a germophobe or a good samaritan - but then she catches him surreptitiously handing his collection off to a small group of armored mice. The barista chases Jacques out with a broom. But have no fear: the Sparra will soon arrive to aid their rodent allies.

htjmfisherman says, “Common tropes within each book are overly desripitive [sic] feasts and food (he originally wrote the books for blind children) and extremely violent battles between woodland animals. I always loved the different personalities of the different animal species in each series.”

segalia says, “This series was a huge part of my childhood. There was always another great adventure, full of humor and feasts and heroes. It was a huge part in getting me into writing and helped me make many friends. Honestly, it formed a part of who I am today.“

icarusandstardust says, “Brian Jacques’ books were some of my favorites as a child; I loved the excited stories and the adventure (and the animals were a plus too, for a devout animal lover). The Redwall series cemented my status as a perpetual bookworm. I was introduced to the series 16 years ago by someone who is still my friend today, so there’s nostalgia for me there.”

evithermique says, “I loved pretending to sword fight with my brother; he was always a mouse and I was always a squirrel. Jess was awesome.”

gwaihiril says, “I read the first 11 or so Redwall books; my parents bought be a membership in the Redwall Readers’ Club sometime after the 6th book. My dad traveled a lot for work in those days, so he’d bring back the UK editions, which at the point often came out sooner than the American.”

museumowl says, “The most foundational author for me that I’d like to see would be Brian Jacques, particularly his Redwall books. His stories were my rock and hiding place through many storms – the Redwall books have been and continue to be some of the only books I am able to read when I am feeling my worst. I always cry at the closing of a Redwall book, at that invitation to visit again, even as an adult twice the age of the little girl that first found the series.”

dailydoseoffox says, “I was a pretty shy and scared kid a lot of the time I was growing up. The characters had to fight such evil villains and got stuck in such bad circumstances that they really taught me how to be brave and how to stand up for myself – so yeah, these characters mean a lot to me.”

“Who did you write this book for?”

We asked the authors longlisted for the National Book Award in Fiction to answer the question, “Who did you write this book for?” Below are some of their responses.

To see our full list and learn more about the Longlist titles, visit:

Chris Bachelder, The Throwback Special

W. W. Norton & Company

“I wrote this novel for the tens of millions of ravenous readers out there who cherish both plotless literary fiction and football.  No, I didn’t.  The truth is that while I know some writers do conjure an audience as a generative and constraining force in composition, I don’t tend to think much about a specific reader or group of readers when I’m writing.  Generally speaking, I’m interested in moving deeply and patiently into scene, and in fulfilling the imaginative potential of a premise.  When I’m writing, I feel not in the presence of a reader, but rather up against the limits and possibilities of my own premise, which I hope to elaborate with precision, wit, and empathy.  The book tends to have its own needs and requirements, separate from mine or a hypothetical reader’s.”

@wwnortonlibrary @wwnorton

Garth Greenwell, What Belongs to You

Farrar, Straus and Giroux

“The truest answer is that I didn’t have any audience in mind. I was living in Sofia, Bulgaria, and I was working full-time as a high school teacher; I woke up at 4:30 to write for two hours every morning before school. I didn’t show anyone what I was working on, and I didn’t think I was working on a novel. If I wasn’t teaching—on weekends or in vacations—I might go days without speaking English. All of that made writing the book the most intense experience of privacy I’ve ever had. I remember feeling that the hours I spent writing were real life, that everything else was a kind of performance. I wrote the book as a way of exploring a place that often baffled me, I think; and I wrote the book because writing allowed me what felt like the most authentic experience of myself.”


Adam Haslett, Imagine Me Gone

Little, Brown & Company

“In truth, I wrote it for myself. We always do, of course, write the books we want to read, but this was the book I very much needed to write to come to terms with my own experience. And for that reason it was the most cathartic work I have ever done.”


Paulette Jiles, News of the World

William Morrow / HarperCollinsPublishers

“I wrote it for myself. I like re-reading my own work. Especially when I’m traveling. Typos seem to self-generate and it makes me happy to catch a few more.”


Karan Mahajan, The Association of Small Bombs

Viking Books / Penguin Random House

“I’ve lived between India and the US for so many years now that I can no longer orient myself toward one audience; I don’t know how; it seems false. As a result, I have to constantly return to myself as the center, and write what interests, moves, and provokes me, and hope that these experiences resonate in a universal fashion. I wrote The Association of Small Bombs, in a sense, for an audience of one, but I also wrote it for the many others who don’t fit neatly into categories.”

@vikingpenguinbooks @vikingbooks @penguinrandomhouse

Elizabeth McKenzie, The Portable Veblen

Penguin Press/ Penguin Random House

“I’m not sure who it was written for. I think it depended on what day it was. I guess you’re always hoping you’re doing something that will connect with somebody out there. There’s a certain darkness at the core of the book that emerged from world and personal events and was “the what” maybe more than “the who.” I thought about a lot of people I’d loved and cared about while working on it, including a few struggling with mental illness, as well as an animal or two and a sort of collapsing telescope compendium of my earlier selves. Writing the novel was often like having conversations with people who are gone and who I miss.”

@thepenguinpress @penguinrandomhouse

Lydia Millet, Sweet Lamb of Heaven

W. W. Norton & Company

“For me it’s less a who, because I’m not calculating enough to write for any particular target readership, than a what and why: I wanted to write about language and notions of the divine in our culture. I wanted to write a novel that looked at people’s sense of their ownership of language and their ownership of God in a dramatic context—that explored how the appropriation of God, and the debasement of language, by groups and individuals and even technology can intersect with the collection of wealth and seizing of power. But I wanted to do so in a narrative that was propulsive enough to make those ideas tangible, so I chose a personal story about a couple and a child, and made them the location of that conversation.”

@wwnortonlibrary @wwnorton

Colson Whitehead, Underground Railroad

Doubleday / Penguin Random House

“I wrote the book for myself, with the usual hope that if I wrote it well, others might get something out of it, too.”



Nigerian writer Chimamanda Ngozi Adichie is the award-winning author of the novels Purple Hibiscus, Half of a Yellow Sun and Americanah, as well as the collection of short stories The Thing Around Your Neck. She was a 2008 recipient of a MacArthur Foundation Genius Grant.

Beyond her writing, Adichie is known for her widely-viewed TEDx talks “The Danger of a Single Story” and “We should all be feminists”, the latter which was sampled and further popularized by Beyoncé‘s 2013 track “***Flawless”.

Keep reading

Groundbreaking book, Blacks, Mulattos, and the Dominican Nation, on Dominican history authored by prominent Dominican thinker published in English for the first time

Originally published in 1969, Franklin J. Franco’s Blacks, Mulattos, and the Dominican Nation was the foundational study on the role of Afro-descendants in Dominican society. Franco’s work was originally written in the midst of a socially committed thought erupting in the Dominican Republic after the breakdown of the conservative worldview sustained by the Trujillo regime and the second military intervention by U.S. forces in the country. Blacks, Mulattos and the Dominican Nation is in perfect harmony with the early efforts for the establishment of Black Studies in the United States’ academia. Franco’s insurgent scholarly contribution and vindication of Dominican Blackness and Africanness, voiced from his homeland in Spanish, remained inaccessible to those English-speaking students, scholars and others interested in Black Studies as it unfolded beyond the U.S.

Now, more than 40 years later, Routledge puts in the hands of new generations the very first translation in English of a popular book that in 2011 had already been reprinted eleven times in the Dominican Republic without any alteration. Blacks, Mulattos, and the Dominican Nation, translated by Dr. Patricia Mason, includes an introduction by Dr. Silvio Torres-Saillant that contextualizes Franco’s work.

This exciting translation is part of Routledge’s new Classic Knowledge in Dominican Studies series, “a series that aspires to bridge on a permanent basis the shores of scholarship between the U.S. and the Dominican Republic, to ensure that transcendental writings that have marked Dominican thought become available to an English-speaking audience that otherwise may have no access to these important texts,” says Ramona Hernandez, the series’ editor and Director of CUNY Dominican Studies Institute, the City College of New York.

The editorial board of Classic Knowledge in Dominican Studies series is constituted by distinguished scholars Alejandro Paulino, Archivo General de la Nación, Dixa S. Ramírez, Yale University, Mu-Kien Sang Beng, Pontificia Universidad Católica Madre y Maestra, Rubén Sillié, Dominican Ambassador to the Republic of Haiti, Silvio Torres-Saillant, Syracuse University.

What scholars are saying about Blacks, Mulattos, and the Dominican Nation:

“Finally! U.S. scholars and students interested in a fuller, more complex understanding of blackness in the Americas will have English-language access to Franklin J. Franco’s seminal account. Blacks, Mulattos and the Dominican Nation is indispensable reading for anyone interested in the relationship between slavery-based capitalism, competing colonial projects, and the development of racial systems and ideologies in the Americas. As importantly, Blacks, Mulattos and the Dominican Nation reminds readers that anti-Haitianism and negrophobia provide as much evidence of unremitting black freedom struggles on the island, as of the pathologies of white supremacy in the Hispanic Caribbean.” Ginetta E. B. Candelario, author of Blacks behind the Ears: Dominican Racial Identity.

“The reissue of Franklin Franco’s Blacks, Mulattos and the Dominican Nation demands a new look at the African base of the Dominican Republic, and the vexed question of race in that country. It brings to light long held silences of racial oppression, and turns accepted notions of history on its head. At a time of deep misgiving between the Dominican Republic and Haiti, the book reveals a fascinating account of the impact of Toussaint Loverture’s presence in the Dominican Republic and his contribution to the development of a consciousness of the Dominican nation. This is a must read for Caribbean scholars.” Linden F. Lewis is a Presidential Professor of Sociology at Bucknell University and past President of the Caribbean Studies Association. His most recent work is as the editor of the anthology Caribbean Sovereignty, Development and Democracy in an Age of Globalization.

“Franklin J. Franco’s analysis challenged the idea that Hispanic benevolence birthed racial harmony when he made enslaved people, violence, and plunder central to Hispaniola’s colonial history. Franco can now assume his well-earned place among English-language scholars who broke new ground in the study of slavery and the African Diaspora in the Americas.” April J. Mayes, author of The Mulatto Republic: Class, Race and Dominican National Identity.

“Written in 1969, Franklin Franco’s book remains an important synthesis of Dominican history during the colonial and Haitian periods. It illuminates Santo Domingo’s place as an extraordinary part of the Afro-Caribbean world: its role as the first slave plantation society in the Americas (in the 1500s); its mostly enslaved, maroon, and African-descended population since that time; and its political integration with Haiti, which was embraced by many Dominicans as a more liberal and modern nation during the early 1800s. A new introduction by Silvio Torres-Saillant situates this classic work beautifully and expansively in Dominican historiography.” Richard Turits, author of Foundation of Despotism: Peasants, the Trujillo Regime, and Modernity in Dominican History.

Please join Ramona Hernandez and Alejandro de La Fuente, Director of the Afro-Latin American Research Institute, Hutchins Center for African and African American Research at Harvard University, for a special launching at the Latin American Studies Association annual meeting in San Juan.

The presentation will take place on Friday, May 29 from 5:00pm to 5:30pm, in the Exhibit Hall of the Caribe Hilton, San Juan, Puerto Rico.

anonymous asked:

I've noticed that you've been talking a bit about cultural appropriation lately, and I was wondering if you've solidified your opinion enough to write about it? I kinda feel like its a good concept to explain certain things, but it gets bandied about too much, and where I like things like Amandla Stenberg's video explaining some on black culture appropriation, I don't like the way it gets used here on tumblr or specifically lgbta spaces

So where I’m at right now is basically: Cultural appropriation is rarely, if ever, a good word for why something is bad. Many of the things discussed under the umbrella of cultural appropriation are in fact bad, but it is more useful to talk about how they are bad and mostly useless to debate whether they are cultural appropriation. Arguing in terms of “is this an example of cultural appropriation” is like arguing abortion in terms of “is a fetus a human life” - it divorces the conversation from who is harmed, why they’re harmed, and what can be done about it to make it all about whether a thing is a member of a confusing and badly-defined category. 

Taking advantage of systemic societal racism (for example, if no one will buy from black people, so you imitate their stuff and sell it and people are willing to buy it from you) is bad. It’s not bad because you imitated their culture and sold it, it’s bad because you’re making it easier and more convenient to be racist. 

Wearing the equivalent of medals you didn’t earn (black belts, feather headdresses, whatever) is bad if you might be mistaken for someone who earned it (because it’s lying) or if you’ll muddy the meaning of it (for a non-cultural example of this, giving out “I donated blood” stickers to people who did not donate blood).

Self-congratulatory and clueless copying of other peoples’ (oversimplified) traditions is mildly annoying and it’s reasonable for everyone to socially discourage it by rolling their eyes at you.

Some people (especially people with a respect/authority moral foundation?) have a very strong aesthetic distaste for these and related behaviors even when they don’t harm anyone. It’s reasonable for them to decide they don’t want to hang out with you. It is wrong for them to call you evil, unless you’re harming someone, in which case they should ideally explain how and why. If they don’t explain, though, it’s probably worth steelmanning and/or seeing if anyone else has explained.

Oh, from John Wooten Awards Press Release... Guess why Mr. Worst Investment Ever was there?

The Taste of the Game 2014 events we have planned in connection with Super Bowl XLVIII will benefit the D’Brickashaw Ferguson Foundation, Asomugha Foundation and National Sports Authority, a division of ESP Education & Leadership Institute, all 501 ©(3) organizations.

Nnamdi Asomugha, former All-Pro NFL Player and Chairman, Asomugha Foundation will serve as this year’s honorary host.  “We are honored to have Nnamdi Asomugha join us as we spotlight these outstanding individuals who are making a difference throughout the communities we live in.” says Everett Glenn, President of ESP Education & Leadership Institute.

How interesting.

This is the official press release… that was given out guess when? JANUARY 7. SO, just so we’re clear… he KNEW, and consciously PLANNED to be on the OPPOSITE coast as Kerry from Thursday on,  going to SB events and parties, when his NOT wife’s birthday was on Friday. Planned and everything. LMFAO! No husband who has a SMIDGEON of care for his wife obviously would EVER do that. Let that marinate.

(Obviously only for those who have brains… the others will try and now make three triple somersaults in order to justify this, too. LMAO)