A ticking bomb of teenage savagery that blows the hypocrisies and prejudice of society to smithereens.

Bullied at school with near-hellish doggedness by cold-hearted classmates and fattened at home with increasingly extravagant feasts by an overindulgent father, the voracious narrator of All Flesh trudges through her teen years certain that her heft is because she has absorbed her twin sister in utero and is now eating, and living, for two.

As those around her look down on her corpulence, she struggles to see who she might be beyond such narrow-mindedness. When a near-fatal incident unexpectedly brings a man and a heady experience of the body’s other pleasures into her life, she gets a decadent taste of a future she had never dared to imagine. But she is beset once more by sharp tongues and beady eyes until, finally, she devises a drastic way to turn the tables on her tormentors and the whole unjust world. But will her coup de grâce prove self-possessed, or self-destructive?

In All Flesh, Ananda Devi’s keenly lyrical prose presents a darkly humorous mirror that bitingly reflects and shatters the double standards around how we talk about bodies, women, beauty, and food, and how society consumes, obsesses over, and vilifies humanity’s excesses.

In this heartwarming celebration of familial love, Auntie's favorite nephew has to navigate the growing pains of becoming a big cousin.

Auntie's baby boy knows he's the king of her heart--until the day she brings home someone new. Suddenly, his blankie is shared, his snuggle spot is different, and his big feelings are hard to handle. How can Auntie's love stretch far enough for them both?

But just when it seems like baby cousin is totally taking over, one sweet smile changes everything.

Bursting with heart and humor, Auntie's Baby is a tender reminder that love doesn't get smaller when families grow--it only gets bigger.

A poignant and inspiring memoir from the former mayor of Atlanta about her modest, hardscrabble upbringing, and fully appreciating the selfless, loving, fierce, and altogether Southern-twinged lessons her family taught her.

Long before Keisha Lance Bottoms rose to prominence in politics, she was a daddy’s girl from the Westside of Atlanta—the baby of her family who did well in school, though she talked too much in class; an outgoing kid who dreamt of growing up to be elegant and charismatic like her parents, cool like her older siblings and big cousins, and the pride of her very large, Southern family.

After law school, Bottoms worked as an attorney, served as a judge, and was elected to City Council and the mayorship, where she garnered national attention for her leadership during the pandemic and George Floyd protests. Later, she was appointed senior advisor in President Joe Biden’s administration.

Yet Bottoms felt disquieted internally. She was in her early fifties and approaching the age her beloved father was when he died. She couldn’t shake the feeling that something in her life was missing, like she’d forgotten to bring an essential element of herself along for her ascension. Stepping away from the daily political grind, Bottoms realized how much she’d sanded down parts of herself in her path to professional success. She’d tucked away the fuller details about her dad’s drug abuse and prison stint for dealing; the sexual abuse she endured; the eating disorder she developed; the close-knit, utterly unpolished family who doted on her and gave her an incredible foundation of love and confidence but whose influence she’d pruned to a sleek, charming, campaign-ready sheen. She thought that was the price of upward mobility. Then she realized she was wrong.

The Rough Side of the Mountain is about this excavation. It’s Bottoms’s deeply affecting journey to rescue a version of herself that she thought she had to leave behind to succeed. An honor to the lessons from kinfolk plainly told, hers is a timely and heartfelt memoir about unmasking oneself, the joys of authenticity, embracing what you see, and spreading that powerful message.

The author of the critically acclaimed The Viral Underclass (one of Kirkus Reviews best books of 2022) is back with The Overseer Class, which explores what happens when members of historically minoritized groups are selected for high-visibility positions of power within existing institutions—but under the conditions of a kind of Faustian bargain.

Our society places so much weight and attention on those who become the first or only of their identifying group that we miss one of the inherent issues in that model. This book is about the kinds of compromises made by a small but influential group of people from minoritized groups in the United States as they have entered segregated institutions in highly visible positions. People in the overseer class wield enormous institutional power, even necropolitical power over who lives and who dies; it’s just that their power is predicated upon repressing other people who look (or speak/have sex/come from places) like them.
The most obvious contemporary overseer is the Black police officer. The Overseer Class begins with this quote from James Baldwin from 1967:
“The poor, of whatever color, do not trust the law and certainly have no reason to, and God knows we didn't. ‘If you must call a cop,’ we said in those days, ‘for God's sake, make sure it's a white one.’ We did not feel that the cops were protecting us, for we knew too much about the reasons for the kinds of crimes committed in the ghetto; but we feared black cops even more than white cops, because the black cop had to work so much harder--on your head--to prove to himself and his colleagues that he was not like all the other n******.”
But this dynamic does not only exist within law enforcement, it exists in many different spheres and The Overseer Class explores what it looks like in mass media, universities, corporate America, the military, and government. A powerful current and local example of this quandary can be seen right here in the ongoing saga of New York's Mayor Adams. At the end of the day, The Overseer Class aims not only to educate us and start this discussion but to provide a framework for challenging that dynamic. It is a weighty topic but one that Dr. Thrasher is well-equipped to handle.

"Never Can Say Goodbye is deliciously woven from threads of guidance, memory, and devotion to the sacred labor of holding space at the end of life." --Alua Arthur, author of Briefly Perfectly Human

Compelling narrative that highlights the importance of a death doula and generational traumas faced by the Black community.

Embedded within the fabric of American society are deeply ingrained taboos surrounding death. For African Americans, these taboos are compounded by a complex interplay of factors that make conversations about death even more elusive. The echoes of systemic racism, unequal access to healthcare, and the enduring impact of generational traumas have created an environment where death is often seen as a subject best left untouched.

In his debut book Never Can Say Goodbye, death doula, Darnell Lamont Walker:

delves into the reasons behind the silence surrounding death within the Black community.narrates his personal experiences of holding space for individuals at the end of their lives. guides and comforts those navigating grief, who silently mourn.

Walker shares personal stories from his role as a compassionate guide navigating the delicate space between life and death. These narratives unfold as intimate accounts of individuals, each seeking solace, closure, and the opportunity to share the stories that define them.

This book is for anyone wanting to witness the healing that unfolds when someone is afforded the chance to articulate their life's journey, find closure in their own narrative, and ultimately, face the inevitable with a newfound sense of peace.

Never Can Say Goodbye captures the essence of these profoundly human moments while exploring the connection between the grieving and their doula, revealing the transformative power of storytelling in the face of mortality. Walker helps you process feelings and emotions from past losses and instills wisdom on how you can hold space and provide your loved ones with the closure they deserve.

A picture book celebration of girl dads everywhere by The Dad Gang CEO, Sean Williams--now in a lower-price format!

A fun read-aloud written in upbeat rhyming verse, Girl Dad is a picture book that honors the loving men who raise, love, and uplift strong girls.

Share Girl Dad with the dads in your life, on Father's Day or any day.

Plus: Don't forget to check out Sean Williams's Boy Dad!

A Bank Street College of Education's Children's Book Committee's Best Children's Books of the Year pick!

Afrocentrism. Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, The Black Atlantic also complicates and enriches our understanding of modernism.

Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the “double consciousness” of W. E. B. Du Bois to the “double vision” of Richard Wright to the compelling voice of Toni Morrison.

In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic.

Banned shortly after publication for its depiction of female freedom, Women Without Men creates an evocative and powerfully drawn allegory of life in contemporary Iran.

"Using the techniques of both the fabulist and the polemicist, Parsipur continues her protest against traditional Persian gender relations in this charming, powerful novella." —Publishers Weekly

This modern literary masterpiece follows the interwoven destinies of five women—including a wealthy middle-aged housewife, a prostitute, and a schoolteacher—as they arrive by different paths to live together in an abundant garden on the outskirts of Tehran. Drawing on elements of Islamic mysticism and recent Iranian history, this unforgettable novel depicts women escaping the narrow confines of family and society, and imagines their future living in a world without men.

In this stunning conclusion to the bestselling Ravenous Fate duology, Elise Saint and Layla Quinn must discover the truths behind an alluring poison and the monstrous new presence ravaging New York City

In 1927, shocking upheavals have rocked Harlem's most powerful factions and left Elise Saint estranged from the reaper she loves, Layla Quinn. The Saint family empire is in decline, gangster-run blood houses peddle debauchery, and a dangerous reaper-venom drug has become all the rage with wealthy thrill-seekers. Elise is desperate to find her beloved little sister, Josi, who has gone missing in the chaos. Meanwhile, Layla contends with shifting alliances in the New York underworld, including Karine, an ancient reaper, and the gangster Nicoletta―both with scores to settle.

And then a terrifying new threat emerges: a beast making swift, murderous rampages through the city, keeping to darkness while hunting reapers and humans alike. Layla and Elise are joined in purpose when they suspect the monster's origins are related to a far deeper mystery that involves Josi, Karine, and a disquieting new future for reapers. Soon, they will risk everything to unearth these secrets, where the shadowy boundaries between the dead and the living are even more treacherous than they imagined.

A founding document of African American Studies, reissued for today’s students and scholars
 
In a landmark 1968 conference at Yale University, students, faculty, and community activists helped establish “Afro‑American Studies” as a major, and then a thriving department, at Yale. In these conference proceedings, participants argue for the necessity of Black Studies as a field, start to delineate its central debates, discuss its relationship to the broader community, and plot a course of study. Bristling with implied action and the power of an idea whose time has come, this classic reissue will serve as a resource for new generations of scholars and activists.
  
Contributors to the proceedings include McGeorge Bundy, Lawrence W. Chisolm, Harold Cruse, David Brion Davis, Nathan Hare, Maulana Ron Karenga, Martin Kilson, Jr., Gerald A. McWorter, Sidney W. Mintz, Boniface Obichere, Alvin Poussaint, Edwin S. Redkey, Charles H. Taylor, Jr., and Robert Farris Thompson.
 
In a new introduction, Farah Jasmine Griffin reflects on the legacy of this book and the trajectory of the field over the decades; forewords by Ralph C. Dawson and Henry Louis Gates, Jr., recall the pioneering moment at Yale and all that it made possible.

In an effort to deny the ongoing effect of colonialism and imperialism on contemporary political life, the death knell for a multicultural society has been sounded from all sides. That's the provocative argument Paul Gilroy makes in this unorthodox defense of the multiculture. Gilroy's searing analyses of race, politics, and culture have always remained attentive to the material conditions of black people and the ways in which blacks have defaced the "clean edifice of white supremacy." In Postcolonial Melancholia, he continues the conversation he began in the landmark study of race and nation 'There Ain't No Black in the Union Jack' by once again departing from conventional wisdom to examine―and defend―multiculturalism within the context of the post-9/11 "politics of security."

This book adapts the concept of melancholia from its Freudian origins and applies it not to individual grief but to the social pathology of neoimperialist politics. The melancholic reactions that have obstructed the process of working through the legacy of colonialism are implicated not only in hostility and violence directed at blacks, immigrants, and aliens but in an inability to value the ordinary, unruly multiculture that has evolved organically and unnoticed in urban centers. Drawing on the seminal discussions of race begun by Frantz Fanon, W. E. B. DuBois, and George Orwell, Gilroy crafts a nuanced argument with far-reaching implications. Ultimately, Postcolonial Melancholia goes beyond the idea of mere tolerance to propose that it is possible to celebrate the multiculture and live with otherness without becoming anxious, fearful, or violent.

The story of a runaway mother’s ten days of freedom—and the pain, desire, longing, and wonder we find on the messy road to enlightenment—from Pulitzer Prize winner Quiara Alegría Hudes.

April is a young mother raising her daughter in an intergenerational house of unspoken secrets and loud arguments. Her only refuge is to hide away in a locked bathroom, her ears plugged into an ambient soundscape, and a mantra on her lips: dead inside. That is, until one day, as she finds herself spiraling toward the volcanic rage she calls the white hot, a voice inside her tells her to just . . . walk away. She wanders to a bus station and asks for a ticket to the furthest destination; she tells the clerk to make it one-way. That ticket takes her from her Philly home to the threshold of a wilderness and the beginning of a nameless quest—an accidental journey that shakes her awake, almost kills her, and brings her to the brink of an impossible choice.

The White Hot takes the form of a letter from mother to daughter about a moment of abandonment that would stretch from ten days to ten years—an explanation, but not an apology. Hudes narrates April’s story—spiritual and sexy, fierce and funny—with delicate lyricismand tough love. Just as April finds in her painful and absurd sojourn the key to freeing herself and her family from a cage of generational trauma, so Hudes turns April’s stumbling pursuit of herself into an unforgettable short epic of self-discovery.

A groundbreaking investigation of the Caribbean as both an idyll in the American imagination and a dark laboratory of Western experimentation, revealing secrets to racial and environmental progress that impact how we live today.

“Dark Laboratory is a gargantuan, soulful work. It obliterates most of what I thought I knew about the Caribbean’s utility to Western Wealth.”
—Kiese Laymon, New York Times bestselling author of Heavy

In 1492, Christopher Columbus arrived on the Caribbean Island of Guanahaní to find an Edenic scene that was soon mythologized. But behind the myth of paradise, the Caribbean and its people would come to pay the price of relentless Western exploitation and abuse. In Dark Laboratory, Dr. Tao Leigh Goffe embarks on a historical journey to chart the forces that have shaped these islands: the legacy of slavery, indentured labor, and the forced toil of Chinese and enslaved Black people who mined the islands’ bounty—including guano, which, at the time, was more valuable than gold—for the benefit of European powers and at the expense of the islands’ sacred ecologies.

Braiding together family history, cultural reportage, and social studies, Goffe radically transforms how we conceive of Blackness, the natural world, colonialism, and the climate crisis; and, in doing so, she deftly dismantles the many layers of entrenched imperialist thinking that shroud our established understanding of the human and environmental conditions to reveal the cause and effect of a global catastrophe. Dark Laboratory forces a reckoning with the received forms of knowledge that have led us astray.

Through the lens of the Caribbean, both guide and warning of the man-made disasters that continue to plague our world, Goffe closely situates the origins of racism and climate catastrophe within a colonial context. And in redressing these twin apocalypses, Dark Laboratory becomes a record of the violence that continues to shape the Caribbean today. But it is also a declaration of hope, offering solutions toward a better future based on knowledge gleaned from island ecosystems, and an impassioned, urgent testament to the human capacity for change and renewal.

In a current era marked by carceral logics, authoritarianism, and white supremacy, there has never been a greater need for the tools and inspiration that radical feminism provides. In Insurgent Visions, Chandra Talpade Mohanty explores methods of anticapitalist resistance to radically transform everyday life. She presents insurgent feminism—a theory and praxis with which to contest and replace the practices of violence grounded in racialized gender relations. Insurgent feminism unsettles existing power structures in order to enact new relationships and forge new subjectivities, epistemologies, and communities. Drawing on organizing efforts in the US-Mexico borderlands, Palestine/Israel, and Kashmir, as well as on abolitionist and Dalit feminisms, Mohanty contends that the knowledge that emerges from the experiences of marginalized groups who are struggling for economic, racial, and social justice is key for imagining feminist futures. She also turns to the neoliberal landscape of higher education in the United States and the difficulties of instituting transformative antiracist and anti-imperialist feminist knowledge building. Mapping new challenges for radical praxis, Mohanty reconfigures feminist studies while offering a model for decolonial cross-border organizing and solidarity.

A young adult anthology featuring fictional stories of everyday resistance.

You might be the kind of person who stands up to online trolls.Or who marches to protest injustice.Perhaps you are #DisabledAndCute and dancing around your living room, alive and proud.Or perhaps you are the trans mentor that you wish you had when you were younger.Maybe you call out false allies, or stand up to loved ones. Maybe you speak your truth and drop the mic, or maybe you take it with you when you leave.This anthology features fictional stories--in poems, prose, and art--that reflect a slice of the varied and limitless ways that readers like you resist every day. Take the Mic's powerful collection of stories features work by literary luminaries and emerging talent alike, including Newbery-winner Jason Reynolds, New York Times bestseller Samira Ahmed, anthologist and contributor Bethany C. Morrow, Darcie Little Badger, Keah Brown, Laura Silverman, L.D. Lewis, Sofia Quintero, Ray Stoeve, Yamile Mendez, and Connie Sun, with cover and interior art by Richie Pope.

From the award-winning poet at the height of his career, a book of personal and American experiences, both beautiful and troubling, touching on the generative cycle of loss and renewal

Following on his exquisite Stones, Kevin Young’s new collection, written over the span of sixteen years, shapes stories of loss and legacy, inspired in part by other lives. After starting in the bayous of his family's Louisiana, Young journeys to further states of mind in “All Souls,” evoking “The whale / who finds the shore / & our poor prayers.” Another central sequence, “The Two-Headed Nightingale,” is spoken by Millie-Christine McCoy, the famous conjoined African American “Carolina Twins.” Born into enslavement, stolen, and then displayed by P. T. Barnum and others, the twins later toured the world as free women, their alto and soprano voices harmonizing their own way. Young’s poem explores their evolving philosophical selfhood and pluralities: “As one we sang, /we spake— / She was the body / I the soul / Without one / Perishes the whole.”
In “Darkling,” a cycle of poems inspired by Dante’s Divine Comedy, Young expands and embroiders the circles of Hell, drawing a cosmology of both loneliness and accompaniment, where “the dead don’t know / what to do / with themselves.” Young writes of grief and hope as familiar yet surprising states: “It’s like a language, / loss—,” he writes, “learnt only / by living—there—.” Evoking the history of poetry, from the darkling thrush to the darkling plain, Young is defiant and playful on the way through purgatory to a kind of paradise. When he goes, he warns, “don't dare sing Amazing Grace”—that “National / Anthem of Suffering.” Instead, he suggests, “When I Fly Away, / Don't dare hold no vigil . . . Just burn the whole / Town on down.”
This collection will stand as one of Young’s best—his voice shaping sorrow with music, wisdom, heartache, and wit.

A gripping and genre-defying novel by a rediscovered great of twentieth-century Black American writing, about what it means to be a writer at the dawn of a new era

First published in 1965, The Catacombs is a metafictional account set in early 1960s Rome, where the author had returned to study art history after serving on the Italian front during World War II.

African-American expatriate Bill Demby narrates his attempts to write a novel about his friend Doris, who is living in Rome and employed as one of Elizabeth Taylor's handmaidens in the filming of Cleopatra. Utterly dependent upon Doris for the development of his novel, he is both a participant in and observer of her life as she enters into an affair with an Italian count. Bill Demby's growing emotional and artistic involvement in the tumultuous affair of his character-friend leads him on an existential quest for the meaning of truth and fiction, both lived and created, in a world torn by the social upheaval of the early sixties.

Interrupted constantly by headlines from television and newspapers, slipping in and out of fiction and metafiction, The Catacombs is a time capsule from an era on the brink and a novel unlike any other.

With previous work hailed by the New York Times as “unflinching” and “piercing”, Ashley M. Jones’s Lullaby for the Grieving is her most personal collection to date.

In her fourth poetry collection, Jones studies the multifaceted nature of grief: the personal grief of losing her father, and the political grief tied to Black Southern identity. How does one find a path through the deep sorrow of losing a parent? What wonders of Blackness have to be suppressed to make way for "progress"?

Journeying through landscapes of Alabama, the Middle Passage and Underground Railroad, interior spaces of loss and love, and her father’s garden, Jones constructs both an elegy for her father and a celebration of the sacred exuberance and audacity of life. Featuring poems from her tenure as Alabama’s first Black and youngest Poet Laureate, Lullaby for the Grieving finds calm in unimaginable storms and attempts to listen for the sounds of healing.

“A restless collection of incredible breadth, whose ability to meld applied science, faith, history, racial myth, and personal archive gives us poems whose power is unmistakable. A game-changing book.”—Rosalie Moffett, judge of the 2024 National Poetry Series

Radiant with a tenderness that is only achieved through close attention, these poems offer witnessing and formalistic exploration as well as a unique cosmology that is made ever more expansive by blurred lines between the instructional and the improvisational. For Keith Wilson, no image, thought, stanza, or diagram is sufficient in the practice of illumination, so he combines them. The Uncanny Valley diagram is repurposed to imagine a future Emmett Till never saw; visual instructions for line dancing stand in tension with the memory of Wilson’s grandfather picking cotton; prayer is input as equation; a poem gerrymanders a sentence diagram. In these and other gestures, Wilson expands the possibility of what poetry can hold.

Thematically expansive and materially ambidextrous, Games for Children demonstrates how play is one of the highest forms of freedom, and in reclaiming it, our most tender truths are exposed.

A haunting, powerful collection of stories spanning modern-day Pakistan and the diaspora in the United States, from a sparkling new literary talent.

In eight unflinching and stunningly crafted stories, Kanza Javed unspools the lives of characters desperately trying to forge a path for themselves on the margins of society. An addict teaches his young son to shoot feral dogs on the streets of Lahore. A Christian nurse gets drawn into a plan to trap the ghost of her patient’s former lover. A Pakistani student in a small Appalachian town grapples with a startling act of violence that shatters her illusions of safety and freedom. A lonely wife, trapped indoors by a harsh winter, becomes increasingly obsessed with a cloth worry doll left behind by a previous tenant.

Written with keen psychological insight and remarkable empathy, these stories reach across divides of class, gender, and religion as Javed deftly examines questions of identity and agency, belonging and loss. What Remains After a Fire is a moving portrayal of fiercely resilient characters who desire more than what their circumstances can offer them―and what these desires ultimately cost them.

At the center of this dazzling novel is Angela, a twenty-year-old beauty who leaves the stifling conformity of Oklahoma to search for fame during the rise of blaxploitation cinema in Los Angeles. But for her mother, Mildred, a strait-laced survivor of the 1921 Tulsa race riots, Angela's acting career is unforgivable, and the distance between them grows into a silence that lasts for years. It is only when Angela's daughter, Tamara, a filmmaker, sets out to close the rift between them that the women are forced to confront all that has been left unspoken in their lives.

Bold and beautifully written, Third Girl from the Left deftly explores the bonds of family and the inextricable pull of the movies.

NATIONAL BESTSELLER

“Angela Garbes has given us the definitive explanation for something we all share: the sense that something is not right about our society’s treatment of parenting. Essential Labor is a beautifully written, painstakingly researched, and courageously personal book. Garbes reveals the way systems exploit caregiving and shows us how the essential work of mothering can fix not just family life, but society. A timely and unforgettable book.”—Heather McGhee, New York Times bestselling author of The Sum of Us

From the acclaimed author of Like a Mother comes a reflection on the state of caregiving in America, and an exploration of mothering as a means of social change.

The Covid-19 pandemic shed fresh light on a long-overlooked truth: mothering is among the only essential work humans do. In response to the increasing weight placed on mothers and caregivers—and the lack of a social safety net to support them—writer Angela Garbes found herself pondering a vital question: How, under our current circumstances that leave us lonely, exhausted, and financially strained, might we demand more from American family life? 

In Essential Labor, Garbes explores assumptions about care, work, and deservedness, offering a deeply personal and rigorously reported look at what mothering is, and can be. A first-generation Filipino-American, Garbes shares the perspective of her family's complicated relationship to care work, placing mothering in a global context—the invisible economic engine that has been historically demanded of women of color. 

Garbes contends that while the labor of raising children is devalued in America, the act of mothering offers the radical potential to create a more equitable society. In Essential Labor, Garbes reframes the physically and mentally draining work of meeting a child's bodily and emotional needs as opportunities to find meaning, to nurture a deeper sense of self, pleasure, and belonging. This is highly skilled labor, work that impacts society at its most foundational level.

Part galvanizing manifesto, part poignant narrative, Essential Labor is a beautifully rendered reflection on care that reminds us of the irrefutable power and beauty of mothering.

The Romare Bearden Reader brings together a collection of new essays and canonical writings by novelists, poets, historians, critics, and playwrights. The contributors, who include Toni Morrison, Ralph Ellison, August Wilson, Farah Jasmine Griffin, and Kobena Mercer, contextualize Bearden's life and career within the history of modern art, examine the influence of jazz and literature on his work, trace his impact on twentieth-century African American culture, and outline his art's political dimensions. Others focus on specific pieces, such as A Black Odyssey, or the ways in which Bearden used collage to understand African American identity. The Reader also includes Bearden's most important writings, which grant readers insight into his aesthetic values and practices and share his desire to tell what it means to be black in America. Put simply, The Romare Bearden Reader is an indispensable volume on one of the giants of twentieth-century American art.

Contributors. Elizabeth Alexander, Romare Bearden, Mary Lee Corlett, Rachel DeLue, David C. Driskell, Brent Hayes Edwards, Ralph Ellison, Henri Ghent, Farah Jasmine Griffin, Harry Henderson, Kobena Mercer, Toni Morrison, Albert Murray, Robert G. O’Meally, Richard Powell, Richard Price, Sally Price, Myron Schwartzman, Robert Burns Stepto, Calvin Tomkins, John Edgar Wideman, August Wilson

A classic collection of essays calling for decolonization through self-liberation

“For us,” said Amilcar Cabral, “freedom is an act of culture”―and these were not just words. Guided by the concrete realities of his people, Cabral called for a process of “re-Africanization,” a Return to the Source. As a new imperialism has taken hold the world over, many have hearkened back to Return to the Source, but this time, our source of inspiration is Cabral himself. With a system of thought rooted in an African reading of Marx, Cabral was a deep-thinking revolutionary who applied the principles of decolonization as a dialectic task, and in so doing became one of the world’s most profoundly influential and effective theoreticians of anti–imperialist struggle. Cabral and his fellow Pan-African movement leaders catalyzed and fortified a militant wave of liberation struggles beginning in Angola, moving through Cabral’s homelands of Guinea Bissau and Cape Verde, and culminating in Mozambique and beyond. He translated abstract theories into agile praxis and in under just ten years steered the liberation of three–quarters of the countryside of Guinea Bissau from Portuguese colonial domination.

In this new, expanded edition of Return to the Source: Selected Texts of Amilcar Cabral we have access to Cabral’s warm and humorous informal address to the Africa Information Service, and we revisit several of the principal speeches Cabral delivered during visits to the United States in the final years before his assassination in 1973, including his last written address to his people on New Year’s Eve. Return to the Source is essential reading for all who understand that the erasure of historical continuity between social movements has disrupted our ability to make the revolutionary transformation we all desperately require.

Walter Rodney was a scholar, working class militant, and revolutionary from Guyana. Strongly influenced by Marxist ideas, he remains central to radical Pan-Africanist thought for large numbers of activists’ today. Rodney lived through the failed –though immensely hopeful -socialist experiments in the 1960s and 1970s, in Tanzania and elsewhere.

The book critically considers Rodney's contribution to Marxist theory and history, his relationship to dependency theory and the contemporary significance of his work in the context of movements and politics today. The first full-length study of Rodney’s life, this book is an essential introduction to Rodney's work.

A long-awaited, comprehensive collection of renowned poet and performance artist Jayne Cortez’s poetry.

Like the jazz rhythms that inspired and punctuated her practice, Jayne Cortez improvised her way through and across disciplines, bridging poetry and performance with music and the visual arts to create a unique body of work. Consciously rupturing the boundaries between art and politics, Cortez’s practice uneasily fits within literary movements of the 20th century, residing everywhere and nowhere between the Black Arts Movement, Surrealism, feminism, and early performance art. As intersectional as it is interdisciplinary, her work is consistently visceral and fearless, acting as a powerful expression of collective rage on behalf of the disenfranchised and dispossessed. In the words of historian Robin D.G. Kelley, “her poetry was never ‘protest’ but a complete revolt, a clarion call for a new way of life.”

Published to coincide with the hundredth anniversary of his birth, the first major study of Malcolm X’s influence in the sixty years since his assassination, exploring his enduring impact on culture, politics, and civil rights.

Malcolm X has become as much of an American icon as Abraham Lincoln, John F. Kennedy, or Martin Luther King. But when he was murdered in 1965, he was still seen as a dangerous outsider. White America found him alienating, mainstream African Americans found him divisive, and even his admirers found him bravely radical. Although Ossie Davis famously eulogized Malcolm X as “our own Black shining prince,” he never received the mainstream acceptance toward which he seemed to be striving in his final year. It is more in death than his life that Malcolm’s influence has blossomed and come to leave a deep imprint on the cultural landscape of America.

With impeccable research and original reporting, Mark Whitaker tells the story of Malcolm X’s far-reaching posthumous legacy. It stretches from founders of the Black Power Movement such as Stokely Carmichael and Huey Newton to hip-hop pioneers such as Public Enemy and Tupac Shakur. Leaders of the Black Arts and Free Jazz movements from Amiri Baraka to Maya Angelou, August Wilson, and John Coltrane credited their political awakening to Malcolm, as did some of the most influential athletes of our time, from Muhammad Ali to Kareem Abdul-Jabbar and beyond. Spike’s movie biopic and the Black Lives Matter movement reintroduced Malcolm to subsequent generations. Across the political spectrum, he has been cited as a formative influence by both Barack Obama—who venerated Malcolm’s “unadorned insistence on respect”—and Clarence Thomas, who was drawn to Malcolm’s messages of self-improvement and economic self-help.

In compelling new detail, Whitaker also retraces the long road to exoneration for two men wrongfully convicted of Malcolm’s murder, making The Afterlife of Malcolm X essential reading for anyone interested in true crime, American politics, culture, and history.

After a devastating breakup leaves her questioning everything, Farrah Darby trades her flailing life in San Francisco for a fresh start in Hollywood as a movie set stylist. Her fashion expertise should be her ticket to success, but there's one problem: Director Errol Davis seems determined to make her life hell. Every costume choice becomes a battle, every interaction a test of wills.

Farrah gives as good as she gets - if Davis wants war, she'll show him exactly what she's made of. But between their heated arguments, she can't help noticing other things too: his intense focus when he's directing, the rare smile that transforms his face, and yes, that irritatingly perfect ass. When a crisis on set forces them to work closely together, Farrah glimpses a different man beneath the harsh exterior - one who might be worth the risk of letting her guards down again.

Now she's facing a dilemma bigger than any wardrobe decision: trust her head, which warns her to keep her distance, or her heart, which whispers that their rivalry might be disguising something much more intriguing.

Sonia Sanchez is a prolific, award-winning poet and one of the most prominent writers in the Black Arts movement. This collection brings her plays together in one volume for the first time. Like her poetry, Sanchez’s plays voice her critique of the racism and sexism that she encountered as a young female writer in the black militant community in the late 1960s and early 1970s, her ongoing concern with the well-being of the black community, and her commitment to social justice. In addition to The Bronx Is Next (1968), Sister Son/ji (1969), Dirty Hearts (1971), Malcolm/Man Don’t Live Here No Mo (1972), and Uh, Uh; But How Do It Free Us? (1974), this collection includes the never-before-published dramas I’m Black When I’m Singing, I’m Blue When I Ain’t (1982) and 2 X 2 (2009), as well as three essays in which Sanchez reflects on her art and activism. Jacqueline Wood’s introduction illuminates Sanchez’s stagecraft in relation to her poetry and advocacy for social change, and the feminist dramatic voice in black revolutionary art.

A Sweet Valley High for a new generation, a dishy, dazzling YA drama set against the backdrop of an elite charter school where stars are made―or fade.

When Chyna gets a scholarship to the newest, most prestigious sports school in the city, it’s the best opportunity to do the gymnastics she loves. But between caring for her ailing mother and dealing with the elitist girls on her gymnastics team, she’s not sure she belongs.

Meanwhile, Jamaal is reeling from the death of his brother―who was also secretly Chyna’s boyfriend. Becoming star of the Power Panthers basketball team is his way to honor his brother’s memory and nothings going to stand in his way. Not even his health.

Filled with gossip, high-stakes sports drama, and tons of heart, BALANCING ACT is the first in a riveting new series about teens fighting for their dreams in a city where picking a side is no game.

A Puerto Rican trans epic that blends poetic play and speculative fiction, by a Lambda Literary Award winner

Algarabía follows Cenex, a trans being who narrates his life while navigating the stories told on his behalf. An inhabitant of a colony of Earth in a parallel universe, Cenex leads us through his years as an experimental subject, a stay in suburbia, and not-so-far-off lands as he struggles to find a name, a body, and a stable home. His song clashes variegated sources with work by cis writers on trans figures, referencing everything from Clueless to Taino cosmology within a single line.

Algarabía inscribes an origin narrative for trans people in the face of their erasure from colonial and anti-colonial literary canons, laughing at its own survival with sharp, unserious rage.

Una epopeya puertorriqueña trans que mezcla poesía y narrativa especulativa, por un ganador del Premio Lambda

Algarabía sigue a Cenex, un ser trans que narra su vida retrospectivamente mientras navega por las historias contadas en su nombre. Habitante de una colonia de la Tierra en un universo paralelo, Cenex nos conduce a través de sus años como sujeto experimental, una estancia suburbana, unas tierras no tan lejanas y su lucha por encontrar un cuerpo y un hogar estables. Su canto enfrenta textos de escritores cis sobre figuras trans con una variedad de fuentes, haciendo referencia a Clueless y a la cosmología taína dentro de un mismo verso.

Algarabía inscribe un mito fundacional para las personas trans frente a su exclusión de los cánones literarios coloniales y anticoloniales y se ríe de su propia supervivencia con una rabia pícara y aguda.

In trying times, our nation demands more of us. It is time for good trouble.

Senator Cory Booker captivated Americans across the political spectrum in early 2025 with his remarkable 25-hour speech on the Senate floor, when he spoke out eloquently and forcefully against the Trump administration’s relentless challenges to civil liberties, government institutions, the rule of law, and our nation's international standing. In the process, Booker outlasted the record for longest continuous Senate floor speech set by segregationist Strom Thurmond during a filibuster of the Civil Rights Act of 1957, which was delivered at another time of great uncertainty for our country when it felt like the odds were hopelessly stacked against justice and unity.

Stand expands on that message and offers a compelling vision for the future to readers who are eager to make a difference. It focuses on the virtues that are vital to our success as a nation and the lessons we can draw from past generations of Americans who fought for them. Now is not the time to surrender to cynicism or abandon our most noble ideals. Now is the time to defiantly declare, like our ancestors before us: "I, too, stand for America.”

Stand is a celebration of the Americans who chose to get up in the face of injustice, who championed the uniquely American values central to making our nation a more perfect union, despite seemingly insurmountable obstacles. It is also a guide for today: leadership is not derived from position or title, it comes from action and example.