“Superb.” —Steven Pinker “An explanation, a defense, and, most heartening, a celebration. . . . McWhorter demonstrates the ‘legitimacy’ of Black English by uncovering its complexity and sophistication, as well as the still unfolding journey that has led to its creation. . . . [His] intelligent breeziness is the source of the book’s considerable charm.” —New Yorker “Talking Back, Talking Black is [McWhorter’s] case for the acceptance of black English as a legitimate American dialect. . . . He ably and enthusiastically breaks down the mechanics.” —New York Times Book Review Linguists have been studying Black English as a speech variety for years, arguing to the public that it is different from Standard English, not a degradation of it. Yet false assumptions and controversies still swirl around what it means to speak and sound “black.” In his first book devoted solely to the form, structure, and development of Black English, John McWhorter clearly explains its fundamentals and rich history while carefully examining the cultural, educational, and political issues that have undermined recognition of this transformative, empowering dialect. Talking Back, Talking Black takes us on a fascinating tour of a nuanced and complex language that has moved beyond America’s borders to become a dynamic force for today’s youth culture around the world. John McWhorter teaches linguistics, Western civilization, music history, and American studies at Columbia University. A New York Times best-selling author and TED speaker, he is a columnist for CNN.com, a regular contributor to the Atlantic, a frequent guest on CNN and MSNBC, and the host of Slate’s language podcast, Lexicon Valley. His books on language include The Power of Babel; Our Magnificent Bastard Tongue; Words on the Move; Talking Back, Talking Black; and The Creole Debate.

In this book, Smitherman makes a substantial contribution to an understanding of Black English by setting it in the larger context of Black culture and life style. In her book, Geneva Smitherman makes a substantial contribution to an understanding of Black English by setting it in the larger context of Black culture and life style. In addition to defining Black English, by its distinctive structure and special lexicon, Smitherman argues that the Black dialect is set apart from traditional English by a rhetorical style which reflects its African origins. Smitherman also tackles the issue of Black and White attitudes toward Black English, particularly as they affect educational policy. Documenting her insights with quotes from notable Black historical, literary and popular figures, Smitherman makes clear that Black English is as legitimate a form of speech as British, American, or Australian English.

This authoritative introduction to African American English (AAE) is the first textbook to look at the grammar as a whole. Clearly organised, it describes patterns in the sentence structure, sound system, word formation and word use in AAE. The textbook examines topics such as education, speech events in the secular and religious world, and the use of language in literature and the media to create black images. It includes exercises to accompany each chapter and will be essential reading for students in linguistics, education, anthropology, African American studies and literature.

In Praise of Spoken Soul: The Story of Black English "Spoken Soul brilliantly fills a huge gap. . . . a delightfully readable introduction to the elegant interweave between the language and its culture." –Ralph W. Fasold, Georgetown university "A lively, well-documented history of Black English . . . that will enlighten and inform not only educators, for whom it should be required reading, but all who value and question language." –Kirkus Reviews "Spoken Soul is a must read for anyone who is interested in the connection between language and identity." –Chicago Defender Claude Brown called Black English "Spoken Soul." Toni Morrison said, "It's a love, a passion. Its function is like a preacher’s: to make you stand out of your seat, make you lose yourself and hear yourself. The worst of all possible things that could happen would be to lose that language." Now renowned linguist John R. Rickford and journalist Russell J. Rickford provide the definitive guide to African American vernacular English–from its origins and features to its powerful fascination for society at large.

In the winter of 1996, the Oakland school board's resolution recognizing Ebonics as a valid linguistic system generated a brief firestorm of hostile criticism and misinformation, then faded from public consciousness. But in the classrooms of America, the question of how to engage the distinctive language of many African-American children remains urgent. In The Real Ebonics Debate some of our most important educators, linguists, and writers, as well as teachers and students reporting from the field, examine the lessons of the Ebonics controversy and unravel the complex issues at the heart of how America educates its children.

A compelling argument for why creoles are their own unique entity, which have developed independently of other processes of language development and change.

The minstrelsy play, song, and dance "Jump, Jim Crow" did more than enable blackface performers to spread racist stereotypes about Black Americans. This widespread antebellum-era cultural phenomenon was instrumental in normalizing the N-word across several aspects of American life. Material culture, sporting culture, consumer products, house-pets, carnival games and even geographic landmarks obtained the racial slur as a formal and informal appellation. Music, it is argued, was the catalyst for normalizing and disseminating those two ugly syllables throughout society, well beyond the environs of plantation and urban slavery. This weighty and engaging look at the English language's most explosive slur, described by scholars as the "atomic bomb" of bigoted words, traces the N-word's journey through various music genres and across generations. The author uses private letters, newspaper accounts, exclusive interviews and, most importantly, music lyrics from artists in the fields of minstrelsy, folk, country, ragtime, blues, jazz, rock 'n' roll and hip hop. The result is a reflective account of how the music industry has channeled linguistic and cultural movements across eras, resulting in changes to the slur's meaning and spelling.