>> the house will be in order. >> for 40 years c-span has been providing america unfiltered coverage of congress, the white house, the supreme court and public policy event from washington, d.c. and around the country so you can make up your own mind created by cable in 1979. c-span is brought to you by your local cable or satellite provider. c-span, your unfiltered view of government. up next, book tv monthly in-depth program with author and princeton university prevents or under professor. her books include profits of the hood, may we forever stand in the recently published wreath, a letter to my son.

>> professor, what is the structure of your newest book breathe. >> fear, flight and fortune. it is a letter, a series of letters to my son but also a letter to the o larger world, bh about the reality of anxiety, the worry that comes along with being a parent of lack children in particular black boys at this moment in the united states. but also filled with my desire for them to lead a life of beauty and joy in excellence and self regard. much of which i think has lessons for an extraordinary tradition we have. >> where you come up with the idea to write your sent a lett

letter. >> i actually have written him letters privately for years but my editor at the beacon press said is this something need be interested in doing because i talk about my children all the time. i write post about them on social media, initially, what we both had in mind was something that was a bit more lighthearted but then when i started to reflect on what it would mean to try to tell a story to them about my expectation and my learnings and the depth of my love and a story for the world, it became something more sober and i reached into the archive that i had in my mind and tried to have a conversation both with the past and the present and for

their future. >> it reads as if it's blown out of you. that's probably not the case but it reads that. >> thank you. it certainly is the book that came out most quickly. my previousl previous work withe foundation and i wrote most of it in japan where i was working for the summer and there's a way which provided contemplation and retreat that allowed it to flow forth but it's also the case of the conversation in the book by the conversation that we have all the time. into crack those conversations into crack that message took time but there is -- and the emotional energy of this task

which is reckless and beautiful and exciting in the children's lives is just like that. [laughter] >> where did you come up with the title? >> it is interesting because many people just that there is a reference to air gardner statement i cannot breathe. but there is also a reference -- the city i was born in birmingham alabama had the worst air quality the year i was born. i was taken about the prevalence of that and the environmental safety and the way it makes it hard toth breathe actually and then i was thinking about the holding off deep anxiety around

violent moment of racial injustice and also in part because it is connected to my first book which was on hipaa, it was largely about blacks and the extraordinary skill that goes on noted into stay all of those words, the choir of the breast. i want them to breathe and taken what they need to survive and force. but also managing the bo blacks. in navigating the difficult moment which is what it means to get out and fix it without catching a breath. it was a powerful metaphor for me. >> the fortune what does that mean. >> the ceo part, i should say

that structure comes both from richard wright between the world and me and a modification that i talk about, the fear part is self evident. the fear of racism, rather that be the harrowing incidents that we have been seen on video for several years that have been out through american history of the killing of unarmed black people, often by police officers without any process and just cause for the most minor infractions or for none at all. that privacy but this year at large in which inequality can

limit your opportunities but also get in your head. those kinds of fears are without question ever present and part of the task of parenting. to me it's attend to navigate around the fears, what's of recognition that tomorrow is not really promised. every day, so you have too navigate and also cannot be completely overwhelmed by the fear, otherwise you will not live, you have to deal with the reality, tragedy and disaster areis possible. .and then fly, in some ways is n indication of toni morrison an and -- flight is the moment when he is running away from the law

because he has committed aat murder of being lynched essentially. but i thought about flight in a sense of actually taking flight in life, so an extension of the idea not being defined by the fear but how to take flight in a direct reference of coming north with solomon. and the idea of flying if you give up the stuff that weighs you down. and in fortune for me was a way of talking about the abundance that they had that was not about the material, not about inheritance and away we come to describe it. but actually the fortune of her tradition of ancestry of incredible beauty, of creativity

in the face of constraint and so i took about everything from the sisters and the repetition of a single composition over and over which functions as a way of thinking about how do i navigate this. but we had this set of notes which we can save for life at navigating the time over and over again. so, that is the foundation of the structure. >> what do we know about freeman and visa. >> this is a hard question to esanswer because sometimes -- in some ways the most important part is that they are fully and

absolutely human in all of its complexity. i say that because so often i think, black children in particular are granted that recognition. so i can talk about how they are distinctive she, is a brilliant monthly in understanding human relations in a beautiful writerr and freeman composes extraordinary music and an amazingly gifted artist and they are both really good friends and all of these things but i sometimes -- these things are true but i don't want it to sound as though i'm making them exceptional. because i do believe all children are really special and many children who do notre have parents who can draw attention to their gift are often made to feel as though their children

are inadequate. and later home much to offer which that disproportionally falls not just on what children but busboys in particular. so they are really human. >> to they think about the fact that they wrote a letter to them exposing them to the world? >> that is why they're okay with it but i understand that might change over time because my sons are 13 and 16 at a pretty intense stage of development, i give them veto power over the content so i allowed them to say if there were stories they did not want in the book in detail but i hope maybe they'll let me tell later in life but maybe not. but with respect to the idea of being a book tour in the book getting public attention, that's not particular interesting to

them and i am not in the intimate domestic life, a public figure and that part of the day to day of our lives is not on display and that's the most important piece for them as a relationship. >> you right racism is in every step in breath that we take. >> it really is. you know when you actually start to deconstructed in a detailed fashion and you see everything from how homes are constructed to how frequently the street cleaning operation takes place,

who can beware, what opportunity exist, who has bank accounts, who doesn't, who has stock, who doesn't. walking along the street, whose body elicits a etching, who gets followed in the store, where are their bookstores and rich communities, what do the schools look like, what is the quality of the air we breathe. it is so pervasive in its what part of us makes us uncomfortable as conversations are about race for so many people, we cannot function as a decent society without talking about it because we are in the thick of it all the time. >> on friday we sent out a tweet promoting your appearance on sunday and in the tweet we put the words are white people you redeemable ask her from

princeton university. you took a little issue with that. so i want to read what prompted that question and will put it on thei screen as well so we will give you a chance to talk about this a little bit. >> here is a confession. recently i have wondered if white people are irredeemable. again i have to issue a caveat for the sensitive i did not mean individuals, the other precious against total desperation. in them we find the persistence of possibility. a single person can be someone's hell but a single person can be a heaven to or a friend. but i worry that white people are irredeemable and it scares me. what with the complete assembly of the kingdom of identity look like, how would the visceral pool under a cracked open surface. would we all shatter? could we put something together again, i don't know, i'm losing some of my ability to dream a

will. so given those to paragraphs is on the queer rather accurate than asking the question. >> let me say why the single sentence question is hard for me. because without the larger context, so often sentences like that trigger a defensiveness that becomes impossible to engage. so the difficulty of social media all the time that is not unique and certainly experienced it. but that second sentence that is a copy yet is important because people here when you say i wonder if people are irredeemable and they hear all white people, and they hear white people as individuals as

opposed to identity that is: two. when i go into the second paragraph and essay what if we take this identity apart, those people would have a different history or body but it would be a different relationship to identity but i think weha potentially have as a consequence a more humane relationship to each other. whawhen i went later in the paragraph and i said in individual could be a heaven, were not talking what an individual, certainly both of them that were raised by white man or someone who thinks on so many figures like take for example john brown or howard zinn or bob zellner, who are

some of the most precious people in the world, it is important to not have a formulation that removes them from my sense of struggle that i'm engaged with. >> one more question before we move on to your other books. mothering walkways in america is a special calling. >> that is a sense that my mother said to me, i think about it in a number of different ways. people talk -- in some ways that are difficult and not necessarily helpful about the challenges that black boys face

whether it's mass incarceration or inequality in schooling, college attendance, all those sorts of things. i think about it differently. i think about it -- all of those things are true but i think about wanting to raise my children who identified as black boys that in a way it does not limit their imagination, the possibility, it allows them to understand the facts of racial inequality that keeps them from thinking their superior because the relatively privileged and also it keeps them away from seeking patriarchy or dominance in a society that values those things highly so even though those things are more elusive to

black man to attain, it's a society that values that an private task is also raising them to not value them. and for the characters in sensitivity and complexity in respect of work of life all of that is a special calling because the lessons to bewh a mn across the board are not so good in the lessons are often not good unless you counter both of those things with the story and also gives them a much greater capacity to be fully human. >> in the last 19 minutese everything we talked about are these the types of things you teach or in part at princeton? >> not really it's a departurere for me in the spirit in which i

teach. certainly i teach the work of richard wright but i tend to teach much more fact driven and material driven as opposed to the emotional register but i do tethink about teaching of the calling and it's important to bring to that of value in humanity and justice and love to the students even though were supposed to be passionate. >> how does one get a phd and a jd from harvard. >> i -- when i graduated from college i was 21 years old and i was just completely in love with ideas and they did not want to

choose and they wanted to do everything and i said go to graduate school and law school and they did two years on gravid joint school and then my first year of law, it was a frenzied pace but it was beautiful, it was amazing. i loved it and i learned so much and every day i was being nurtured by the generation of people who came before me and helps me understand the world. >> we want to play a little bit of music and a little bit of video this is from 1999. ♪

♪ >> of course that is jesse norman singing other was a parks congressional golden metal ceremony in 1999. what is that song? >> that song is lift every voice, the song that was known as the international anthem in the black national anthem in the 1970s and it is a song that i describe as black america's most precious song gosh, just that clip of the park in alabama and jesse who has departed is incredibly moving. >> you written a biography ofep the song, may we forever stand

is the name of the book, james and john johnson. they are the author and the composer. they were brothers. who were born in jacksonville, florida, renaissance men and of course in the back of the day to raise men and people who thought every achievement that they had as being in service and became the first secretary-general of the dublin cp in the first black man importer. but one of the signature accomplishments as a composition of the song. >> they were first-generation freeman born in 1870s? >> yes. their mother's family had been in bahamian and the father was in virginia. they were of the generation that

emerged from slavery with all of the hopes and dreams and isolations that were so quickly dashed. with the end of reconstruction. >> what was the reception in 1900 and the song was written. >> what was extraordinary was a song, a wildfire and it was almost immediately embraced a black america. in one of the things i tried to detail in the book is united states does not have a national anthem at this moment. people were referring to it as an anthem and a big deal in the johnson brothers were educators of the time of the composition and they left florida and moved to new york to work on the alea songwriters in part because thee was a terrible fire in city so they went there in florida as a song caught on.

and it caught on, block club woman circulated it, they reprinted it, began to be printed in the back of hymnals, an anthem of communities making. they did not describe it as an anthem and intended as an anth anthem. if we are continue playing the video wehi would've seen presidt clinton. , singing. >> is one distinction, he may be the only u.s. president that may operate three verses. >> from your book may we forever stand hip-hop uttered its farewell to the black national anthem. where are you going.. >> so, one of the things i talk about this in my book is there are some things that happen in

the 70s and 80s is a transformation both of black social and political life to have to do with an engagement of an association on life and industrialization. and there is a piece in" as a reverend quoted,nd he said black people are the more conscience of the nation. hip-hop was the refusal ofth opposition. it is bold, not formal, it is profane and not an unwilling to perform a particular raveling and outlaw which is a

commonplace in american culture. it is a different public presence for african-americans. so that departure was significant but what i also talk about in the book, the song keeps coming back, there was various moments that it was going to teeter out completely and it keeps coming back even though the institutions in the communities in which it was song on weekly or daily basis don't exist in the black communities. >> what did you learn about the song in researching. >> i will say the biggest surprise, so much i lied about was how it was, it sunk an institutional life in various kinds of organizations. it's so exciting to see thes. graduation program on the dressmakers academy where they sing a song every day and they

talk about it on the porch of the school. but what surprised me and was so beautiful was how many educators used it as a tool so i encountered all these curriculums which the vocabulary lessons that the song becomes a basis which is a history reference that is played and painted mice in school and it really had so many functions and to see the way that the teache teachers, so many black teachers and segregated schools took seriously the task of preparing, to become warriors for justice was so moving.

>> you share your views on this in the book and i want to read that very quickly. you write i like many other people find singing lift every voice and sing it alongside of conscious toot be one against te pessimism that threatens to descend every turn but when i look around the world as a mini close mouse, our eyes focused on the page, nervous gestures and i'm reminded not to be diffused about the moment in which we live grasping randomly in traditions and archives in desperate need of rebuilding and building new. >> right. one of the things that emerged with me with part of the book and i took but in the early chapters about associational life. it was so robust in the black american life was so political

in the context of jim crow the people belong to 10 - 12 different organizations and have commitment overha a lifetime and we don't live that way anymore. that's not just black americans, that's americans in general. that is precisely what was necessary to wage into superlight revolution. it's necessarily to solve social problems, you have to have a sense of being a member of a community who are working together whether it's mutual dependence. and so there's a way in which aa very emotional and maybe sentimental but what was most important about it was it was a tool for creating an emotional bond in the service . . . servic that the community itself is ultimately what was most important. more important than whether we

sing that particular song is the kind of ritual and commitment that made it so powerful that's what we need to re-embrace. >> author and princeton professor imani perry is our guest this month on in-depth. what's a month we invited author to talk about his or her body of work and you take your calls and we reach that point of the program. we will put the phone lines up you will see them in a minute, 202-748-8200 if you live in the east and central time zones. 748-8201 for those of you in the mountain and pacific time zones. if you can't get through on the phone lines and would prefer to send a text you can send a text message to this number 202-748-8003 and we will put that and leave that up throughout the program so you get the correct number,

202-748-8003. you can also contact us via social media just remember @booktv. imani perry is the author of five books, six books. profits of the hud was her first politics and poetics in the hip-hop in 2004, more beautiful and more terrible the embrace and transcendence of racial inequality in the u.s. 2011 sexy thing on gender and liberation came out in 2018 as did "may we forever stand history of the black national anthem and looking for lorraine the radiant and radical life lorraine hansberry also came out in 2018 that's three books

in 2018. and "breathe: a letter to my sons" which we talked about is her most recent which just came out this year.i want to go to her first book you mentioned it a couple times. profits of the hud we will get to the title in a moment but can you draw direct line from langston hughes to biggie smalls? >> absolutely. in so many ways both of them took the beauty of vernacular language and crafted it and made decisions to tell stories that were pointed that often had a political content and resonated deeply or pleasurable to listen to to gauge with. they are different kinds of political subjects.langston hughes is very overtly and activist and organizer but their relationship to black language both in the u.s. and throughout the diaspora and the

desire to understand that as a foundation absolutely directly connected. >> part of what i talk about in the book is of course the process by which it became the most popular form of music and had an audience that expanded beyond its initial core audience and produced a great deal of wealth that has been produced to hip-hop. there's something i talked about also something prophetic about it. because there was from the very beginning and x position and elucidation of what postindustrial life and urban centers in the united states was like. and in all of its complexity.

it's not an encomium to the hood. hip-hop is not. it's an exposition of it. >> imani perry, you use the term mc, m, c, what does that mean? >> is the word for a rapper that's more organic to hip-hop. initially it comes from others spell it emc ee. but they lectureship from the wrapper to the ãbrapper to the dj. mc is a rapper it's a internal to hip-hop way of describing that role. i was interested really and

also what made an mc good. not just the reflection of a moment in history or condition certain communities but what did the art consist of? the mc became really important because i was doing a literary analysis of mc. >> from your book "prophets of the hood", the historic construction of blackness and opposition to whiteness in which blackness is demonized has become part of the art forms consciousness. >> right. i should say, before i go into this, hip-hop has changed a great deal since 2004 although i think there are aspects of the book that are still described the format present in meaningful ways. there is a very overt play with the imagery of black people as

thugs. tupac embraced the idea of thug life. the criminalization of black people the sense of a very long history of american stereotyping of black people as both ãbit's really played with that social reality. let's hear from viewers as we continue to talk about your book. charlie is in roslyn heights new york. hi charlie, you are on booktv. >> hi everybody. i'm a progressive liberal, i've been fighting racism my whole life and i'm very proud of that playground and i've seen that the world is a very complex and politics is very complex

situation. i don't support black nationalism because it's just as bad as white nationalism and it's feeding the trump base. there's good and bad in all groups, black people are just people, they are not inferior and they are not superior. and black nationalism is just as wrong as white nationalism and i can't understand why miss perry is supporting black nationalism. >> imani perry. >> and not a black nationalist, i'm far left. nationalism takes on many different faces. there are certainly conservative brands of black nationalism. that politically are actually quite aligned in many ways to political conservatism. if we take an organization like the nation of islam which is

politically white conservative although advocates black nationalism and then diversion of black nationalism that you'd see in an organization like the black panther party or ãb which are about revolutionary socialism third world politics anti-colonialism that saw themselves as identified and allied with colonized people across the world. i should say that the single term doesn't mean much without the larger context. but i will say that i don't i disagree with the call that they are equivalent.

that's not a designation i would subscribe to. >> you say you are far left what is that mean? >> i identify as both someone who believes in democracy and the socialists. because i believe against economic exploitation. i believe there really should have access to safe environments chemically water, good schools, a living wage. healthcare. i believe in this extraordinarily wealthy country. that we shouldn't have children who are poor.

i don't think people are poor because they are deficient overwhelmingly, they are poor because they are exploited or have a lack of opportunity. so that's what i believe and so the question inasmuch as i write and think about race, it's never separate from the larger questions of the distribution of suffering in our society. it's an example of how the society has been organized in a way to distribute suffering an opportunity and wealth unjustly but i don't want, my objective is not for black people to become those who dominate. the idea for me is to become free of systems of domination to have a real robust democracy that's only possible if you have a decent quality of life for all people in a society. >> you were born 1972 in

birmingham. >> yes. >> what was your childhood like? >> my childhood was in some way very conventional and in some ways very unconventional. i was born in alabama nine years and a few years away from 16th street bombing. to a family of ãband also very solidly black southern work in close culturally. i was raised by my mother who is an intellectual like most cerebral person i've ever met in my life. my grandmother who is domestic and work in the hospital, most resourceful. one of the most brilliant people i've ever known. sent 12 children chalk college. my father and my adopted father who was my mother's partner a jewish man from brooklyn who was a communist. and activists and early person who worked against mass incarceration. we moved to cambridge

massachusetts when i was five and that's when cambridge was bohemian and artistic and intellectual. it was also right after the crisis in boston. the shadow of the most difficult moment, some of the most difficult moments when it came to race in the country was always on my shoulder. i was between those places and also chicago when my dad moved. always in circles of scholars and intellectuals from all over the world and activists. i moved around a lot. i was in a lot of different worlds from a very young age. >> were you always in a book as well? >> i was always in a book.

i was a voracious reader although something i always mentioned i also watched a lot of tv. imagine that because people think, if your kids are in front of screens, things will be terrible. i loved reading, i would read all day, and i also loved watching television as a child. it also fed my imagination. >> let's hear from lloyd in st. louis. >> hello. >> we are listening, please go ahead. >> okay. i'm really impressed with you professor don't help me, perry, i'm 85 years old i will be 86 march 23. i was born in st. louis missouri and went to what you call all colored schools we would sing lift your voice and sing that instilled a lot of pride i don't know if you checked it out once upon a time the movie once upon a time we were colored, we were called colored people in those days and going through many changes

but i think about you getting a phd and a jd, i'm also an educator and i had a masters degree and i didn't feel i needed a phd in education because i felt i was an excellent educator so i went and pursued a jd started 49 years old. this is a part of being black and being black you have to wear many hats. i'm so extremely proud of you and have a paper i'm going to send you but i just need your address at princeton new jersey. carry-on the good work sister, i love the song of solomon and all the other good things you said. now i will hang up and listen to you. thank you very much. >> lloyd, before you hang up, you mentioned some of your education credentials, what have you done as a career? did you teach all your life? >> i taught middle school, i taught math and language arts and then i went to law school starting at 45 years old.

>> did you practice law? >> yes. i practice part-time, taught school middle school the daytime. i did not love the legal profession but i would never exchange that experience because of the background that it gave me. i promote encouraging black males and females to go to law school because this is what we need but i think about the time you have people like thurgood marshall who went all black, colored whatever it's called, and the environment we were raised in years ago, thurgood marshall predates me of course. i think about you mentioned different organizations and the origin and many fraternities and sororities and i won't tell you which unless you really want to know. >> i do want to know. >> ãb many of those members are

descendents of slaves. first-generation it's amazing what they developed in those days. i'm get a let you talk but i'm going to send you this package i developed about being anti-affirmative action with the beneficiaries of affirmative action have been some of the people who have been anti-affirmative action. >> lloyd, thank you so much. we will get a response. if he sent it to imani perry at princeton it would get to you. >> absolutely. >> any response for lloyd?>> i'm so appreciative for your words of encouragement. one of the things that has been so profound in my life, i think it's worth mentioning in public frequently is that older black people have offered me the

most, generations older than me, the most consistent support and encouragement handed particular, appreciation for both my writing and earlier in my educational aspirations and i think they get left out. often times people ãbwhich i think is the greatest generation is the civil rights generation are often sort of discounted or diminished by younger activists. i think it's important to give offered appreciation for not just what they did to transform the nation but also what they continue to do to hold together the foundation of all of our work. and made the work possible. i'm very thankful. >> we will play one more piece of music if he could identify it and talk about it. >> okay

[music] imani perry, who was written who is she singing about? >> that was nina simone and she was singing a song she wrote in honor of her dear friend lorraine hansberry who had passed away. she takes a line from a speech that hansberry delivered to young black writers in which she said that it was a gift to be young and gifted and black. it was a song that in fact, a

certain moments people thought this might become the next lift every voice and sing because was so incredibly popular as a beautiful old to hansberry. >> had nina simone moved overseas by that point? that was in 1969. did she end up in paris? >> yes and she was also in west africa. i don't remember the exact dates but it was four years after lorraine had passed away. >> speaking of lorraine hansberry, this is what you write about her, she was a black lesbian woman born into the establishment donica stopped black middle-class who became greenwich village bohemian leftist married to a man a jewish communist songwriter. she cast her lot with the working classes and became a wildly famous writer. she drank too much, died early of cancer, love some wonderful women and yet lived with an unrelenting loneliness. she was intoxicated by beauty and enraged by injustice. i could tell the stories as

gossip but i hope they will unfold in this book as something much more than that. sounds like an american life in some way. >> hansberry, although politically she was a internationalist, she used to say before she passed away, people always talk about going to europe, i want to travel the americas. she thought she was captivated by the story of the americas. so it is google clearly american story. between chicago and the village and between the small but prominent black bourgeoisie and her radical comrades in between her activist community and her lesbian circles in new york. she crossed a lot of boundaries. >> broadway, 1959, what

happened? a raisin in the sun opens, it's the first play by a black woman on broadway. it is an astonishing success. hansberry, this woman who has been. >> she was 30. >> she was so young she'd wait tables she would work at camps. she'd been a journalist. it was surprising as it she wrote an extraordinary play. it's the most widely produced play by a black playwright in the united states. it has constant revivals, three versions. she hadn't yet turned 30 when the play went up. she's 29. it was phenomenal. and also hard. it was hard for her. >> where did you research this

book does she have relatives living? >> she does have her cousin gail hansberry ãbher cousin gail hansberry who lives in washington dc who i met we shared tears. her best friend from childhood lives in new york but i actually talk to them after i finish the book her papers are at the schomburg center for research in black culture in harlem. the archivist tease me because i say i sort of moved in because i would take my kids to school in the drive to harlem. i live in philadelphia not princeton a little bit longer drive. i would stay as long as i could and drive home to pick up my kids from school and come back the same day. the next day. it's an extraordinary collection and i could use other archives so i could see ã

ãi could see james baldwin's letter to her back and forth there. >> was a friend of hers? >> he was a close friend. she's at the crossroads of all these people and as he was dying, she wrote him an extraordinary obituary, that talked about his significance not just a scholar but as an important social and political force. as she is dying. something like heartbreakingly poetic about their

relationship. >> robert, new york city, hi robert you are on with professor imani perry. >> hi imani, how are you? >> am fine thank you. >> i wanted to ask you if you could elaborate a little more on your concept that ãband if indeed that still resonates at all with our current cultural landscape as an african-american ãbas a person work with ãbshe always said that ballets for black people because i want to hear a little more of your thoughts on that and especially in philadelphia, and cotillion's and all that were very large part of the community there at that time as well, which i

heard stories about. that's it. >> thank you! thanks robert. >> anything to respond to him? >> black formalism is a term that i actually use in "may we forever stand". i use it to distinguish between a concept that has gotten a lot of currency and really important to talk about, which is the politics of respectability. which is basically the idea of a tradition of black people performing certain forms of sort of respectability in order to make the argument for full membership in the society that if we are respectable therefore we might be embraced. black formalism is distinct because it is not actually to make an argument to the larger society is a form of self regarding ritual. black formalism would be rules

about how you dress and comport yourself in civic associations or church or various types of events. the question about whether it's sustained is not nearly as much of the west was because there's less of that civic culture but i think we do still haven't certain pockets and particularly in the south there is a lot of rules about how to act right in certain terms of places that are not about looking externally bitter about whether the rituals that have been inside a community.>> use another term and of course i'm going to lose it and all these books i have in front of me "racist people" that i get the right term? >> yes. i use that term that's ã >> "racist bodies".>> what it

means what it means to be registered as other because of race. because of the designation. i operate as i think many scholars do with the deep knowledge that race does not reel any biological sense. there is no race gene that these categories are socially constructed that we create them. i wanted to use the term to talk about the way the race is described to people as opposed to this idea that interest is. even though the fact that it's described as incredibly powerful. in shape so much of our lives. something placed upon us by us as opposed to something that just is. i think sometimes that's confusing because it's like people with differently. we don't have to make a meeting

of that. race has been making a meeting, not just the way different people look but their genealogy. >> i skipped over this a little bit, how did you have three books come out in 2018? >> that was not planned. i never work on a single project at a time. i worked on all of them for the seven years between 2011 and 2018. and i anticipated they would come out in sequence and then at a certain point i realized at a certain point the book is out of your hands it was like old or older to come out in the same year, which was pretty overwhelming. but it was also nice to see the fruition of the later but sometimes i think it kind of looks like it was a parlor trick of some sort i would work

on this for a year and then work on that and then a month at a time and they just emerged at the same time. >> what's the difference between academic and mainstream but in the construct in which you do with it? >> that is such a good question. it's not a hard and fast distinction. certainly academic books tend to focus on a conversation within a field. part of what distinguishes them is that in that conversation within an academic field the conversation becomes somewhat interior. the people who are reading you assume have a certain set of body of knowledge a certain set of books they read. as a scholar have always wanted to write in ways that the require people to have read the same 100 books beforehand. i tried to write in a way that even in the most scholarly of works that invites people in

and pointed the footnotes and certain sections. i also think obviously a trade book or general market book by and large tends towards serving the pleasure of the reader much more directly. i think it's important for all books. i think you want to engage the reader emotionally as well as intellectually. teach them something so that it's about knowing something but also feeling something. for me the development has been, have this foundation is a scholar and then i can consistently also build my craft as a writer. so the books take on slightly different balances but i wouldn't say that i give up the priorities of either genre when i moved between them. >> this is a text, professor

perry, if you have a daughter what letter would you write to your daughter in 2019? ..... i asked that question in the book and they said why did you write that and i said because i have sons, but i don't think the book would be much different had it been a letter to my daughter, probably the most significant difference would be that i would write about much more extensively about the way girls and women in particular lack girls in particular are often expected to sacrifice themselves in service of others, so i

probably would've had a different angle on the question in that respect, but largely it would be the same. that 61 to 63 thing is so powerful and i wrote actually in essay in harpers last year and one of the formulations about how it's almost like an ossified city in the way people regard me and images that come up usually in january sometimes or september, but a city that has grown and change and was even much more complex than its given credit for in 61 and 63 in terms of the various politics. of there were people that believed in armed self-defense. people had rebellion or riots in the streets in birmingham. people turned-- turned into becoming a black nationalists them all the sorts of things in the city and then we had a major

transformation with the election of mayor arion team and he was the mayor for a guest 30 years. he's still alive. he saved the city from the ravages of the industrialization of my first black mayor of the city. you brought the hospital industry in and he-- we lost steel industry and coal mine's so there's all this history that has intervened and there's in general and erasure of the urban south in the society, but also a sense in which these-- similar to angela davis. we see the picture of her with afro in the 1970s and she's a living breathing person who had a long history of extraordinary scholarly accomplishments of us i don't know the why necessarily , but i think it's

part of my task, kind of unfree's that place? host: at the same time you talk about taking your sons to alabama and mississippi and you talk about the fact that in your view those two places are quite unique. >> they are unique and hallowed ground, i mean, so i think we can cherish and embrace history and also acknowledge that life continues to happen in and around it. one of the stories i tell about went to a reunion in mississippi and so there are all these veterans of the movements or current organizers of the beautiful intergenerational event and also at the campus where we gathered it was a reminder that you have this extraordinary

history and yet the struggle continues because the prison labor looks like all the organizers in the group and many of the organizers who were working on voting rights and economic justice than our working on massa kars ration or educational-- there is a continuum, so i guess what i mean is it important to cherish history, but not too treated as if it's something frozen. host: if you can't get through on the phone lines can send a text message to imani perry and here's the number: 202-748-8003 and we will get to as many of those as possible, but right now it's amy in tallahassee and you have been very patient, amy. think you are-- for holding and you're on the air. caller: good morning doctor

perry. i enjoy your work. i'm a 50 something-year old, closer to 60, but i am a native floridian and in florida we get a lot of hick, but i have to tell my florida history a little bit. you started out with the origins of the different voices thing. he gave a nice little summary, but the backdrop to that song or two that point is much deeper. i don't know-- i didn't read your books i don't really know how far you got into this-- host: amy, are you talking about the fact about florida schools and why they chose jacksonville? caller: yes, about that the poem was originally written for the students and johnson was the principle there at the time, so he wasn't gone.

guest: but, he moved after that. caller: okay and then booker t. washington, the orange parks issue and integration of schools and sheets and florida was the best funded among african-american schools at the time in the south, so i just wanted to to to my little florida horn. guest: all of that is in the book, so i think you would appreciate it. host: sounds like she knows her history. johnson, corning california, hello. john, you have to turn down the volume of your tv otherwise you get that delay. can you do that start talking or do we need to move on? john, i apologize. if you could on the air, in turn down the volume otherwise you'll get a delay and hear

everything through your phone, or promise. amber in like charles, louisiana. it's your turn. caller: good morning, doctor perry. guest: thank you. caller: thinking about your research and black men and women in history, my question is in the 21st century health gathering sources-- [inaudible] host: another thing, if you use a cell phone please talk into it clearly and don't use your speaker because sometimes baguettes garbled-- sometimes baguettes garbled. did you understand her question? guest: i think the question is how the 21st century changes and technology will affect research in the creation of archives and i to get a great question. it's not one that has-- we haven't completely explored it, you know those of us that think about it, but certainly

is there is a couple of different potentially challenging forces and one is both the quantity and the fungibility of materials and by that, i mean, so we take for example exponentially more photos that we did in previous generations. we have constant communication. a lot of that is not printed. when we lose a device we may lose all of that, so it's not as though when you have letters that you keep it a folder or letters-- so the archives are both too big and too small or at least to vulnerable fighting this is a real question. what it suggests is that people-- we had to increasingly be deliberate about what we preserve and probably should be preserving a great deal more in physical form and not just in digital form because as platforms change it's unclear how many translations are going to be possible.

host: historians 30, 40, 50 years from now will have more trouble with archives. guest: guests, and weeding through them and collecting them in making decisions about what goes into an archive, what accounts. also, i will say this, sometimes things that look like they include everything are deceptive. so, for example, if you ever google something you know happened and you can't find it on google, you are reminded even with incredible abundance not everything is there and so that is also a question for historians because if you think you have a full archive you in fact may not. host: next call from new york city. hello. caller: hello, good afternoon. great great program. i guess i have a two-part-- doctor perry, i want you to speak to a boy seems to be or some

of us stunned by it, but at present moment with a lie has become normalized and incitement of division and even violence has also become normalized the, so i would like you to speak to the patriarchal aspects of it and also you mentioned about the identity of whiteness, your projection of since it's not based on biology, it's a social construct how we might go beyond what the future might hold in terms of the very identity of whiteness and i will listen over the air, can i, peter? host: yes, do you have a follow-up you want to make? caller: that is it. host: i promise if you hang up

your phone now and turn on your tv you will hear the entirety of your answer, but if you feel more comfortable staying on the line we will leave you on the line. she is gone. she has not. caller: thank you for that question. guest: series of questions which i thought provoking a meme me say this come i certainly is an individual could not answer the question of how we get past the way, the idea of what whiteness means hinges upon exclusion and notion of a superiority and that notions of greater depth of humanity, but i do think that there is a huge body of work that we need to present pursue and grapple with and one of the challenges it and i think this is similar to the question of patriarchy, one of the challenges is we spend our

entire lives being taught to value certain things and it to think in a particular way and as americans, one piece of that is we invest deeply and mythologies of the nation. we invest deeply in the idea we are as individuals in a set and that's what makes you virtuous and that combination is really difficult if we are trying to address inequality because the immediate response, the fact of inequality becomes defensiveness because you have to be innocent be virtuous as opposed to what i think the truth is which is grappling with issues makes you virtuous, challenging oneself. the mythology of what it -- of the history makes it very hard to confront the ugliness of the past and even the mythology of our personal history, you

know. so, i think certainly a piece of it is those of us who take this work as our life's work has to tell the story with greater truth, with more robustness, sensitivity and grace, but when it doesn't lean toward myth, but leans towards the notion that history serves as. the reason we draw certain aspects out of our histories because we want to build the good society and so to do that we have to think about how to tell history in a way that is honest about the failings and is also honest about the heroes that have led us towards values that are more inclusive and decent and beautiful. i don't have all the answers, but i do think that's without question a part of it. host: and in her book, more beautiful and more terrible

imani perry writes that racial inequality is a national cultural-- [inaudible] guest: it was really important in that book for me too say that -- one is that we are not just living with the impact of the past, but we certainly are so when you look at something like the wealth gap you see that the impact of 20th century policies that created wealth gap the reality is when-- and for that book i researched so many fields, neuroscience, media studies, literature, social psychology, economics and what i saw over and over again is that people disadvantaged others based upon the membership in racial groups most dramatically black people disadvantaged, but it's not exclusively white

people that even includes a significant number of black people who did end up disadvantaging a black person, so it's not really about this question of the individual attitude. these are learned behaviors. we exist in a culture that teaches us that as my colleague says that why people matter more and that-- i wish that book had been written before i wrote this book because it would've been useful, but if you understand that it is a culture becomes very clear why it is so hard to address it, why policies-- because you need a cultural shift. we have to actually be intentional about the process. one of the common places in our society is that people often think it's impolite or not nice on comfortable to talk about race, but one thing we know from

research is talking about race actually helps people behave in a less discriminatory fashion. it's evidenced and so that's a cultural shift that needs to happen. for me it was really important that it wasn't one that we understand that we can all participate in transformation, but that this is not a matter of kind of individuated attitudes or individual behaviors. host: how many self identified conservatives take your courses at princeton? guest: that's a hard question to answer. there are particular courses that i teach that are more likely to attract students who identify as conservatives. i teach a course on the history of race in american law and so that tends the conversation to more likely go across the political spectrum. i do think african american studies tends

to be a self-selected group towards more of more to the left, but one thing i think people are not aware of is that across the self identified political spectrum people hold very conservative ideas about race, so it's not as though the process of kind of educating and sort of demythologizing doesn't happen even if i have a class room full of self-described liberals. there are people by virtue of their something like some of your kind of niceness might identify as a liberal and yet hold very conservative ideas about race work stereotypical ideas about people based upon racial groups. that's important because for me the role as an educator is not so often those of us on the left are accused of that is

not political indoctrination. my objective as an educator is to teach people history and range of ideas based in fact an episode and events and some tools for interpretation, so many years ago-- this doesn't happen now because of social media where it's very clear what my politics are, but when i taught law school many years go-- host: at rikers? guest: at rutgers. they would say we don't know your politics are which is hard to imagine because now they are all out there. rigor is important to me so strong ideological commitments, but rigor is more important. never can a writer say anything that isn't backed up with a substantial body of evidence and i'm also not going to function in such a way that my

evidence can't be contested. host: next call for imani perry comes from daniel in minnesota. , daniel. caller: hello. host: go ahead. caller: mia on tv now? host: you are. caller: really delightful to have this moment. i sort of-- i really believe in what you are doing. i know for a fact because i'm sort of like the opposite part. i am a man, i am white, but i'm racist because of my color on my end but my life in history what happened and what's happening as far as of the structure and i have the means in the manner and what sparks how i can inspire my life, but i'm not a good writer. i'm not well-educated. and not a good in school because i have adhd, but i'm an artist, inventor

and i feel like black and white sweated together and made the contractor of my races but not only that because of my father and what he did as a green beret and what he had done, intelligence and-- host: daniel, before we go too far want to come back to comment that you made that you consider yourself a racist in some ways because of who you are? caller: no, at the moment in time i'm not black and white, but i feel like if i was black i would be the racist part but i'm white racist because of the archives of my history. host: because of the archives of your hair streaked. let's hear what professor perry has to say about that. guest: this is challenging to parse, but i think it's really important.

i don't think-- why people don't-- are not necessarily racist because of the history of this country are the world. i think that is not true or particularly a helpful formulation. i think it is very difficult to transcend the messages that are racists because of the way our history is told, because of the way our society is organized and because of what's obscure and i also think it's extremely important to not talk about race in such a way that it becomes the only or gender the only mechanism of thinking about any quality-- any quality. educational access, disability, poverty, regional distinctions, all of these things are extremely important in the distribution of

opportunity and so sometimes i do worry that people read the conversations that others have about race as implication that if you are right and mail therefore you have everything. obviously that's not true. i was born in alabama. i have been to appalachia. that's not true. the thing that is so-- [inaudible] it creates a barrier, so often between why people who are suffering the same kinds of any quality that black people are where race actually functions to disassociate so that where white people think who are poor and foldable think of themselves as aligned with those exploiting them more than the black people on the other side of town who are also suffering being exploited the doctor have adequate healthcare , so i just went to parse it out

because there will never be a case and i have had these discussions and debates and certainly not everyone in my field agrees with me and i think many if not most do, but race is not everything. i don't think that it was concerned with injustice can ever be your only-- only analytic. host: los angeles, good afternoon. caller: how are you doing, sir cracks-- thank you for having me. hello? host: please go ahead. we are listening. caller: here's my question to professor perry, are we ever going to be living in a: free society? before she answers, i was born in guatemala

for-- 10 miles from british honduras, all races, all sorts of people and to me it was a color free society. are we ever going to-- it seems to me like african-americans are obsessed with race. i understand, i truly understand the situation by the then the united states for 45 years. i've lived in kentucky, tennessee and the army, are we ever going to leave though wars of doctored king-- [inaudible] who's going to take the first step. my final question is, are african-americans obsessed with race, is it because of the product of so many hundreds of years of oppression? i do appreciate your work.

i don't know how she was able to do a jd and phd. amazing. host: before you leave, where you come down politically? caller: i am a far left, a yellow dog democrat. host: thank you, sir. guest: i will say a couple of things in response. i appreciate the question. i do think it would be our-- that african-americans obsessed with race and a thank goodness because were we not it would require us to be deeply self hating people. when something profoundly shakes every aspect of your life and your history and denies you opportunity, if you are not obsessed with the question it's hard to understand how that would make you someone who can have any self regard. so, yes, i am

unapologetically obsessed with race. i think that's what's necessary to get to a more just society. i would take exception to the characterization of central america latin america as race free society there-- they are not. there are places where one doesn't talk about race in the same way, but if you look at central america, black communities that are deeply marginalized or the indigenous community has opposed to other communities or if you look at the way in which call it functions as a stratification in brazil and colombia, puerto rico, in the dominican republic black communities that are deeply marginalized or the indigenous communities, or if you look at the way in which color functions as a stratification in brazil and colombia, in puerto rico, in the dominican republic.

so not talking about race actually does not impact how materially racial inequality functions. latin america is a wonderful example because the evidence of how deeply stratifies things are along the lines of complexion even though the words are different is a sign that not talking about it doesn't make it better. and then i was told i had a unpaid parking ticket and later subsequently told my license had been suspended for nonpaid parking ticket in philadelphia and it became national news because i talked about it. i will say-- save some details are really the part that was most significant for me. one of the details was that the person-- there was a male and female officer, but the person that searched my body for weapons was a man,

which i was not pleased about. host: why were you searched? guest: i don't know. then i was handcuffed. i said can i pay the fine and asked if i could call the president of the university announced told no one i was handcuffed to a table and taken to the police station and it was very clear to me that they were skeptical of my claim to be associated with the university, which is fine. whatever-- what i learned and i made this very clear is that people are arrested for tickets in princeton, something i think is a bad policy. i don't think that the use of the police power is appropriate for that. i think finds are appropriate and i said that. also, it is the case that black drivers are disproportionately stopped in princeton, so both are true. plenty of white people have been arrested for tickets in princeton. black people are disproportionately arrested and certainly

the officer's discretion, i thought, was an appropriate in things like handcuffing me too a table and also details i didn't talk about, that i could not pay within atm and had to pay with cash. they would not take me too an atm and had to-- i don't live in princeton's-- all those details. at the thing that was really harrowing and this did not make it in the news is that after i talked about this incident, i received consistent e-mail messages on social media , calls on my cell phone and calls on work that were filled with the most disgusting slurs you could imagine. ..

i am not the only person in my building at work who experiences that kind of harassment on a regular basis. we have increased security in african-american studies building on campus because we experience the most threats and they are very ugly and given the current climate they feel real. so when people on the one hand say, would he mean racial discrimination? there is no racial discrimination and then respond with that thing, that's an indication of the world we live in. that was what became monster back about it.

at the moment of the rest i was terrified because ãbhad just happened and she had been killed and it was just a traffic infraction. so when people respond like that strip's proportionate, i had seen the footage of her and i was terrified. but the worst part was actually the venomous response to be speaking about the incident. corrected the university stand by you? >> absolutely. the university stood by me committee group of black women academics from all across the nation and abroad spoke out among the half, my students stood by me. it was a saturday on my way to campus for a student conference on black women and one of my students who i saw yesterday she is a graduate student elsewhere now but was organized had organized the conference. i received a great deal of support that was essential from an institution and my community so i wouldn't want to wet will give the impression i was not surrounded by love because i absolutely was but i was also

afraid and afraid because as much as there is this conversation about the importance of free speech when you say certain things, you are under enormous threat. >> did you ever hear from the princeton police and because of your association with university issued an apology? any type of ã >> you know where i'm going? >> yes. right. like the skiff games incident. i will say this, the judge in my case because i had to go to court was very gracious but it was remarkable because we walked to princeton you don't see very many people of color but in the traffic court you see lots of people of color. lots of black folks. lots of asian folks.

middle eastern asian. so on the one hand, i was treated well and i do think that was in part because of not just my association with the university but the attention to the issues it created. but on the other hand in the midst of being treated well is able to see evidence of inequality. even if they had issued a personal apology i don't know that it would have been appropriate for me to embrace that given what i see in the town. there are plenty, i should say, i don't know ãbi have friends who live in preston who experience it, people of color who experience a place they were in embraced, respected, and cared for. i don't ãbit's a set of

observations. >> we have about 25 minutes left with author imani perry, bill is in asheville north carolina you are on we are listening. go ahead. >> thank you very much for accepting my call. on behalf of all americans to professor perry i would like to apologize for such an incident that's heartbreaking. for that to happen to you. to my point, are you familiar with the book the southern passed by william brundage? >> yes. can you give some discussions or some at least bring the audience and the rest of the viewing listening audience up-to-date on some of those some of his writings and talking about how the monuments and the confederate monuments came about in the south?>> bill, why is that a book of interest to you? >> because it parallels the story of after the civil war

and how a lot of these monuments in the self compared with monuments came about but it also parallels the from the dominant culture and it parallels to the african culture, their stories and how they also were living during that time after the civil war and how their societies also came about and grew as she referenced earlier a lot of the fraternal organizations and so forth for the african-american community. >> before we get an answer, give us a snapshot of yourself. >> retired from stanford university, i'm also currently living in asheville joined the southern jazz club. >> how wonderful. >> thank you so much. from stanford to asheville. >> that sounds like a delightful journey. [laughter] i think that what he's referencing is that it's really

important to note in the midst of all these debates around the confederate monument that the monuments were placed by in large as retaliation against reconstruction as opposed to coming up after the civil war to honor confederate soldiers. actually as part of the reassertion of white supremacy during jim crow. so they had this public, they were a public statement that we, as white people, run the south again after the reconstruction governments came out. i was talking about this with one of my friends the other day, the united states sort of conceives of itself as a nation that had not been defeated but we have a region in which people think of themselves as having been defeated by the nation. in that region there is also the largest proportions of

african-americans who are the peoples whose liberation of the civil war would've fought over. so it's a complicated dynamic and what has often happened is that there is almost, i talk about in the dissertation of former reunion like a concession drawn like we will let you keep the south as a kind of white supremacist state and is stay in exchange of getting back for the nation with cost being felt by black people in the jim crow era but we have the repetition of this through many of the conflicts over the confederate monument. i am often saying that on the one hand while i'm opposed to the monuments because obviously they were placed to celebrate the enslavement of my ancestors but i also am very cautious

about the fact that we placed disproportionate attention to those types of monuments as they exist in the south as opposed to the nation at large. there was a moment when the president said, i think a couple years ago, what are they going to do next? attack george washington? george washington was a slaveholder. dc where we are if we are going to raise the questions about monuments or what we celebrate, let's raise it broadly. must not just talk about the one region. let's talk about as a nation how do we want is a wonderful friend of mine is doing this project in philadelphia where he thinks about what kind of monuments do we want to have two celebrate our city or our communities.i think those are good questions to ask let's bring it a little closer to home at princeton university.

the woodrow wilson school of international affairs exist as the wilson school of international affairs? >> i will say this, i don't like the name of the school. wilson wasn't unapologetic racist. i think the students who organized against the name of the school and the money metallization of wilson did an enormous service not just to the school but to the nation. he took the nations backwards on issues of race. i think as an institution we did collectively address ãi wouldn't put it at the top but i'm grateful for the conversation and if certainly

would prefer another name. >> so far social media pages was "lift every voice and saying ever considered in the running for being the national anthem for the u.s., i recall hearing that a number of years ago and this is devonian and margaretãbin mount vernon new york. >> i think what she's probably referencing is james earl johnson and others suggested as a defense of the charge. the criticism of the song is how can black people have a national anthem? you're trying to be a part of this nation at large. that's part of why the naacp which has a song as its official song does not refer to it as the black national anthem or the negro national anthem because they have a history of strong integration agenda. johnson ãbeven though it

tells the story of black life in these epic terms. it was never in the running in the nationals. there have been discussions that the values that are asserted in the song and the beauty of the composition are without question universal. he could tell a particular story about the struggles of african-americans in this land and it has messages that are meaningful for everyone. >> next call for author imani perry is dave in oakland. >> thank you c-span. >> you are on the air.

>> i live in a mixed neighborhood and i have five grandsons to go to school, the school is probably 65 percent to 80% black. i would like to know what i can do to teach my grandsons to be better americans so we can get past this. because i make no connotations or denotations to color with the kids in our neighborhood. i say, the boy across the street, or i say that girl across the street. because this really breaks me up to watch our nation go through this. it's breaking me up now. >> are you white? >> yes i'm white. it just breaks me up to wonder what my grandkids might go through. i feel the pain of what little black kids probably went through. >> let's get a response.

>> i don't want to make assumptions about dave's story but i was very moved by what he said. i think that there is a complicated and rare and precious circumstance for white families living in predominantly black communities. on the one hand it's very powerful because white flight was and is a real thing. whatever is a critical mass of black people move in communities by and large the majority white people depart and so the prospect of integration it's also the case,

i gleaned that from what he was saying is that it's always hard to be one of the few edits particularly hard to be one of the few in areas where people are economically vulnerable, which is a vast majority of predominantly black communities. i imagine his reference to his grandson, it's probably tough to be white kids in those schools. i think we can acknowledge that instilling knowledge that in a society and large it's not tough to be white. so for how those kids to navigate on the one hand the reality of racial inequality but also that they may feel slighted or cast aside or marginalized in their school environment, i think it's important and i think it requires sensitivity and they always requires sensitivity with children. in the best way, certainly i

think, i'm the person who's light, policy, structural changes, legal changes, at the neighborhood level as to what i talk about is right relation it's slow work but i think it's essential that's the best you can do as an individual. he can't shape the fortunes of all the kids in the neighborhood. but having at the relationships with them sharing knowledge, sharing information. >> am sure you saw a couple days ago michelle obama was talking about white flight out of herself chicago lorraine hansberry south chicago neighborhood. the wall street journal had an order tutorial tying it in with

the strike in the chicago school they were fleeing black families they were fleeing poor schools and high taxes. some of the other issues. they're not just making it about race. as part of what i read about in more beautiful and more terrible as those are not contradictory statements. federal policy dictated explicitly in the early 20th century that neighborhoods were less creditworthy and homes were valued less simply by virtue of the proportion of black people in them. including racially mixed neighborhoods. therefore it was harder to get credit in those neighborhoods. federal government policy made it so that it was a bad economic decision for white people to live in integrated neighborhoods. that's the function of racial

inequality and it becomes, the question is, now it accumulates. we don't have those fha guidelines anymore.we don't have the rules that make it such that you can't formally get credit if you can't buy a house in a black neighborhood. but we have now generations of the notions that neighborhoods where black people are are worth less and we know that the price of house depends on what people will pay for them. we have a system where the assumption is if the neighborhood had a lot of black people it's worth less and would not pay that much to live there.there is a perpetuation of what some socially only just called this accumulation. so that the value doesn't accrue in the same way. and black neighborhoods even all other things equal. it's also true that black neighborhoods get less services even affluent black neighborhoods. it's harder to get a grocery

store. the consequence of all that is because schools are funded by virtue of local taxes. is that yes the schools are poor because if the schools don't have nearly as much money and nearly as much investment and nearly as many adults who can supplement the school funding because of white flight then the question you are posing at the individual level is that i don't want to live there because these things are better. at individual level, sure. it's important to understand that the whole structure is a consequence of how race is functioned and if we want to change it it's going to require that people live in neighborhoods that they think are undesirable and contribute to them.>> one of the things we like to do with every author that appears on in depth is asked what he or she is reading and some of their favorite books. imani perry listed two toni morrison books mercy and song of solomon along with herman melville moby dick, molson

hamid exit west and pablo neruda canto general. >> part of the reason it connects to a lot of what we've been talking about i read him in english and spanish. he has had this capacity and feels like he's alive in my mind. to capture extraordinary beauty and love of the natural landscape of south america intimate passions and always sustain political content. critique of the united company. critique of the exploitation of the land. critique of various forms of

indigenous people. that there wasn't a sense that you had to make a choice and that you could tell a story that resonated deeply with all your readers and also hold fast to a set of commitments to justice so he is a role model in many ways. >> is there a difference in the translation? is it more beautiful in his native spanish? >> yes obviously i might be completely wrong on this. neruda as well as gabriela marcus, they both translate really well. there are other writers i read in spanish and the languages at

work. they both work extraordinarily well in english and that to me is also a mastery of the craft at the level of the idea along with the language so that you can communicate the booty with the ideas put together even if the words don't have the same melody. >> why moby dick? i spent a lot of my youth obsessed with whales and wailing, which was a little strange. this epic tale of life aboard a whaling ship with all these people, which is the whaling industry was like. i grew up in massachusetts and spent a lot of year in massachusetts. you can still see the remnants can be go to new bedford bears ãbthey are, black people, portuguese people, you can see the remnants of that history so on this ship the cross-section of the world is on this ship. facing incredible danger. and kind of ãblater.

life and death of the most grueling but poetic of some consensus. >> paul, brooklyn, good afternoon your own with author imani perry. >> hello, it's an honor to be on booktv and a huge honor to be talking to doctor perry. i certainly admire your work. my question is, martin luther king has been quoted in saying the vast majority of white americans are racist either consciously or unconsciously. he said variations of that one or two other times. i wanted to get doctor perry's view on that. i know it's just the quote out of context but i would like to know what she feels about that 50 years after his passing?

>> sure. thank you. thank you peter. >>. [laughter] >> that means i'm getting old. >> i think the quote is one example among many that i think people are drawing attention to that the standard narrative of doctor king that we get is narrow and sanitized. to remove the things that were most challenging that he said. my sense of why doctor king said that in the reason that i say probably the things that i say that are most provocative it's an extraordinary moment of grace as much as it might not feel like that. because it's a challenge. it's issuing a challenge to

reject the dominant order of things the dominant way of thinking. and to do so by shaking people up. it's always complicated and i will say, in my own journey i moved back and forth on how to do this. one day wrote "more beautiful and more terrible" i decided i didn't want to use the word racism. i wanted a word that didn't actually trigger certain things. even though i think racism is pervasive and i use it much more in my writing now because we are sort of in a all gloves off moment in american history.

sometimes those ways of making the point are more provocative than others but the point always is to try to figure out how to enact change how to transform the world we are in. >> we have one last call other call from brooklyn and this is jay, hi jay. >> how are you doing? >> hello ms. perry.>> how are you doing? >> and doing well. i like to state, it's obvious, white america, white people have a very long history of violence toward black people. black people have been trying to get along with white people in the country ever since ãb slavery, jim crow, black people have been trying to get along with white people. it's obvious that white people don't want that, white people want america to be ãbyou didn't discover america, you

started this in america but you project to the world that you are innovated so much in actuality you are not community would have a culture. so in saying that, i feel like white america people are really trying to get a race war started because the federal government is going to fight with you, the state police, everybody is going to be on the side of the white people and black people just really tired. everyday i wake up i think god for social media today, you are seeing a white cop killing a black person whether a man or woman. or you see an ordinary citizen white citizen running around here using n-word. just blatantly attacking black people. you are trying to start a race war and black people are tired. they are really tired of

african-american ãfor freedom are just trying to just live normal and raise your children. to have to tell your child before you leave home what to do to try to avoid the police and not get murdered. >> j we have to leave it there we are almost out of time. professor perry. >> what he gave voice to come of the experience of feeling tired is true. the general sense. this is always the complication and this goes back to where we started, the formulation that he said white americans are trying to start a race war. i wouldn't say that by any means. i think actually the people there are people in this country, militias are white nationalists who are trying to

start a race war, i don't think that's the majority and i think it's important not to identify that as the center because that actually for me is not where the battle lies. i think the battle lies in the transformation that is no less potent but appears less subtle and much more and certainly much more nuanced. but the sense of being tired, the sense of worry about your children when you leave they leave their home, absolutely. and i think it's fair to say the sense of rage and devastation about the last three years in this country is warranted. because if you think there have been all these generations that have fought for every step in being barreled back into the ugliness of outspoken over racism in the public arena and doesn't seem to be any countervailing force to pull it

back that is strong, that's harrowing. that winds up making many black americans when we take about all our debt, all our debt, all are departed, all are denigrated, we are back where they cspan2's book tv, moretelevision for serious readers . >> good evening everybody. we've got to try it one more time. i know you have greatenergy, we saw you coming in . this looks like a high-energy group so let's try it one more time.