A gorgeous new edition of Book 4 of the Patternist series, in which two immortals chase each other across continents and centuries, binding their fates together -- and changing the destiny of the human race.

This deluxe edition includes:

* An incredible new cover and package
* Premium French flaps and newly designed, full color interior covers
* High-quality paper with elegant deckled-edges

In the far future, the human race is divided into two groups striving for power. The Patternmaster rules over all, the leader of the telepathic Patternist race whose thoughts can destroy or heal at his whim. The only threat to his power are the Clayarks, mutant humans who live either enslaved by the Patternists or in the wild.
 
Coransee, son of the ruling Patternmaster, wants the throne and will stop at nothing to get it, even if it means venturing into the wild mutant-infested hills to destroy a young apprentice -- his equal and his brother.

The electric story of two sisters and an unthinkable betrayal.

Mira Guhathakurta is a poetry editor at a distinguished literary magazine in New York, a dream job that has given her nearly everything she's always wanted. And then she reconnects with Jack from college--kind, funny, intelligent Jack--and suddenly Mira feels as if she might have found her soulmate. They've woven their lives together so thoroughly; all that remains is for Jack to meet her family: her beloved father and dear sister Joy. But when Joy commits an unthinkable act of betrayal, the sisters are impossibly fractured and their father's heart is broken. As the sisters navigate their tumultuous relationship and Mira starts over, it turns out that Joy isn't the only one who has been--or continues to be--dishonest.

In a propulsive story of love and passion and the ultimate pull of family, Sisters of a Halved Heart examines the lengths we will go to in order to make our own narratives of love work out, the lies we tell ourselves, and the ways in which the truth, often right in front of you, can be impossible to see.

In this deliciously twisty YA novel, two girls (read: enemies) at a boarding school must team up to take down the boy who hurt them—perfect for fans of Ace of Spades and Do Revenge. 

Uyai and Fiyin may be roommates at Blue Waters Secondary School, but they are not friends. Uyai is popular and fierce—she dominates every room she walks into. Fiyin is nerdy and quiet—she’s easy to miss. Anyone who knows them (assuming they know who Fiyin is at all) would argue that, besides that shared dorm room, the two girls have absolutely nothing in common. 

But they do.

Because both girls have been hurt. Humiliated. Taken advantage of. And both girls have just one boy to blame for it.

Fiyin thinks Uyai is an irresponsible mean girl. Uyai thinks Fiyin is an uptight loser. They both think the boy that hurt them deserves to suffer. But taking down one of the most popular guys in school isn’t a one-woman task. If they want to get their revenge before graduation, Uyai and Fiyin will need each other’s help—regardless of how they feel about each other.

After all, you don’t need to be friends to be teammates.

2025 Most Significant Scholarly Book, Texas Institute of Letters

A history of racism and segregation in twentieth-century Houston and beyond.

Through the 1950s and beyond, the Supreme Court issued decisions that appeared to provide immediate civil rights protections to racial minorities as it relegated Jim Crow to the past. For black Houstonians who had been hoping and actively fighting for what they called a “raceless democracy,” these postwar decades were often seen as decades of promise. In Houston and the Permanence of Segregation, David Ponton argues that these were instead “decades of capture”: times in which people were captured and constrained by gender and race, by faith in the law, by antiblack violence, and even by the narrative structures of conventional histories. Bringing the insights of Black studies and Afropessimism to the field of urban history, Ponton explores how gender roles constrained thought in black freedom movements, how the “rule of law” compelled black Houstonians to view injustice as a sign of progress, and how antiblack terror undermined Houston’s narrative of itself as a “heavenly” place.

Today, Houston is one of the most racially diverse cities in the United States, and at the same time it remains one of the most starkly segregated. Ponton’s study demonstrates how and why segregation has become a permanent feature in our cities and offers powerful tools for imagining the world otherwise.

An exploration of the link between politics of migration, prospects of integration, and ethnic identity among Iranian immigrants and their descendants in the United States, spanning from the 1970s to the present day.

Thousands of Iranians fled their homeland when the 1978–1979 revolution ended the fifty-year reign of the Pahlavi dynasty. Some fled to Europe and Canada, while others settled in the United States, where anti-Iranian sentiment flared as the hostage crisis unfolded. For those who chose America, Texas became the fourth-largest settlement area. Iranians in Texas culls data, interviews, and participant observations in Iranian communities in Houston, Dallas, and Austin to reveal the difficult, private world of cultural pride, religious experience, marginality, culture clashes, and other aspects of the lives of these immigrants.

Examining the political nature of immigration between Iran and the United States and social, cultural, and economic life for Iranian immigrants and their American-born children, Mohsen Mostafavi Mobasher incorporates his own experience as a Texas scholar born in Iran. In this revised edition, two new chapters and a new introduction and conclusion provide updates on what has happened in the Obama, Trump, and Biden administrations, including the Iran nuclear deal and resulting controversy, the Muslim ban, and the global protests over the death of twenty-two-year-old Mahsa Amini for not wearing a hijab. Bringing to life a unique immigrant population in the context of global politics, Iranians in Texas overturns stereotypes and echoes diverse voices.

Analyzing how artists reimagine migrant disappearance and visibility at the US–Mexico border.

In the mid-1990s, the US government implemented Prevention through Deterrence, a major buildup of troops, walls, and surveillance around El Paso and San Diego. Cut off from these crucial urban crossings, migrants flowed into the dangerous surrounding deserts, where some ten thousand have since died. This is all according to plan: Pentagon documents describe the strategy of funneling migrants toward “mortal danger.”

In this bracing critique, China Medel explores the aesthetics enabling and resisting the crisis of migrant death. The nation-state’s performance of sovereignty along the border, predicated on mass casualties, is tolerated and even celebrated, thanks to the images in our heads of racialized and therefore criminal bodies, made invisible as they disintegrate in the baking sand. Spectral Aesthetics shows how state officials and mainstream media, relying on postracial ideologies and white-supremacist agendas, collectively foster this picture of a brown body so abject that it is disposable. In close readings of artworks contesting this murderous visual regime, Medel discovers an alternative kind of sight, one emphasizing the ghostly traces of the dead. These are images not of the individual “alien” but of life itself, indisposable.

In the early days of Texas, the work of the cowhand was essential to the newly arrived settlers building a life on the frontier. The story of the Anglo cowboys who worked the ranches of Texas is well known, but much more remains to be discovered about the African American cowhands who worked side-by-side with the vaqueros and Anglo cowboys.

The cowboy learned his craft from the vaqueros of New Spain and Texas when it was the northern territory of Mexico, as well as from the stock raisers of the south. Such a life was hardly glamorous. Poorly fed, underpaid, overworked, deprived of sleep, and prone to boredom and loneliness, cowboys choked in the dust, were cold at night, and suffered broken bones in falls and spills from horses spooked by snakes or tripped by prairie dog holes. Work centered on the fall and spring roundups, when scattered cattle were collected and driven to a place for branding, sorting for market, castrating, and in later years, dipping in vats to prevent tick fever.

African American cowboys, however, also had to survive discrimination, bigotry, and prejudice. The lives of these cowhands tell a story of skill and grit, as they did what was necessary to gain the trust and respect of those who controlled their destiny. That meant being the best—at roping, bronc busting, taming mustangs, calling the brands, controlling the remuda, or topping off horses.

From scattered courthouse records, writings, and interviews with a few of the African American cowhands who were part of the history of Texas, Sara Massey and a host of writers have retrieved the stories of a more diverse cattle industry than has been previously recorded.

Twenty-five writers here recount tales of African Americans such as Peter Martin, who hauled freight and assisted insurgents in a rebellion against the Mexican government while building a herd of cattle that allowed him to own (through a proxy) rental houses in town. Bose Ikard, a friend of Charles Goodnight, went on Goodnight’s first cattle drive opening the Goodnight-Loving Trail. Johanna July, a Black Seminole woman, had her own method of taming horses in the Rio Grande for the soldiers at Fort Duncan.

These cowhands, along with others across the state, had an important role that too long has been omitted from most history books. By telling their stories, Black Cowboys of Texas provides an important contribution to Texas, Western, and African American history.

Though often consigned to the footnotes of history, African American women are a significant part of the rich, multiethnic heritage of Texas and the United States. Until now, though, their story has frequently been fragmented and underappreciated. Black Women in Texas History draws together a multi-author narrative of the experiences and impact of black American women from the time of slavery until the recent past. Each chapter, written by an expert on the era, provides a readable survey and overview of the lives and roles of black Texas women during that period. Each provides careful documentation, which, along with the thorough bibliography compiled by the volume editors, will provide a starting point for others wanting to build on this important topic. The authors address significant questions about population demographics, employment patterns, family and social dimensions, legal and political rights, and individual accomplishments. They look not only at how African American women have been shaped by the larger culture but also at how these women have, in turn, affected the culture and history of Texas. This work situates African American women within the context of their times and offers a due appreciation and analysis of their lives and accomplishments. Black Women in Texas History is an important addition to history and sociology curriculums as well as black studies and women’s studies programs. It will provide for interested students, scholars, and general readers a comprehensive survey of the crucial role these women played in shaping the history of the Lone Star State.

An examination of the interconnectedness of brown-racialized people across multiple identities, told through case studies of television, literature, and writing.

As a Filipinx immigrant to the United States, Sony Coráñez Bolton has frequently been mistaken as Mexican. Dos X theorizes such misrecognition. What does it mean to exist in this liminal state, which Coráñez Bolton dubs the “racial uncanny”? What generative possibilities emerge from the presumed interchangeability of Latinx and Filipinx bodies—and from the in-betweenness of brownness as such?

Dos X tracks misrecognition through cultural products like the TV series Undone, Brian Ascalon Roley’s American Son, and the nonfiction work of Jose Antonio Vargas. Misrecognition, Coráñez Bolton argues, produces moments of uncanniness in which subjects experience dysphoric attachments to identities that aren’t supposed to be theirs. In the context of racial capitalism, racial dysphoria is a disability because it undermines certainty about what one’s body is and therefore what role one is meant to play as a laborer. But racial dysphoria can also be revealing. Coráñez Bolton identifies vast potential in this supposed disability, which compels its “sufferers” to confront their shared position within the social, political, and economic organization of capital’s empire, opening new avenues for liberatory solidarity.

Deep in the Soul of Texas: An Anthology of Black Literature from the Lone Star State presents vivid firsthand accounts of resistance, perseverance, and triumph of the Black experience as the first-ever anthology of African American Texan writers. From Giddings poet Gwendolyn B. Bennett (1902–1981) to Beaumont native and intellectual Amilcar Shabazz, this anthology highlights the most prominent literary figures of each decade and features Texas’ leading African American writers of today.

Edited by Cary Clack, the first Black metro columnist at the San Antonio Express-News, this anthology represents an important attempt at uncovering and celebrating the roots of Black writing and writers from and about Texas. This collection of poetry, fiction, essays, drama, speeches, and memoir join to celebrate story, imagination, and language of the last 150 years of Texas history. Within each chapter, the anthology grows one step closer in addressing a longstanding question that looms over the Lone Star State: what does it mean to be Black in Texas?

Each of the five parts in this anthology features a different facet of Black history from escape and heritage to folklore and injustice. Illuminating the varied Black experience in Texas, this anthology fills a major gap in Texas literature. Deep in the Soul of Texas brings light to all Texans as it helps change conversations―not just about what it means to be Black in Texas but expanding conceptions of what being “a Texan” truly means.

Founded in 1876, Prairie View A&M University is the second-oldest public institution of higher learning in Texas, one of two Texas land-grant universities, and an “institution of the first class” within the Texas A&M University System. It is also the first public historically Black college or university (HBCU) in Texas. Prairie View A&M has played a pivotal role in the educational and economic experiences of African American Texans. As the university celebrates its sesquicentennial in 2026, editors Will Guzmán and William T. Hoston document and interpret the actions of important individuals, campus institutions, and cultural traditions that made Prairie View A&M what it is today.

The Hill We Climbed: Prairie View A&M University complements former Prairie View professor George R. Woolfolk’s classic 1962 work Prairie View: A Study in Public Conscience, 1878–1946 and Michael Nojeim’s 2011 Down that Road: A Pictorial History of Prairie View A&M University to further contextualize Prairie View A&M’s place among HBCUs, higher education in general, and Texas Black life in particular. Prairie View A&M University has a long and rich history, of which past literature provides only a small sampling. In celebrating the 150–year anniversary of the founding of this historically Black institution, The Hill We Climbed documents how the university continues to fulfill its historic mission, encapsulating PVAMU’s motto: “Prairie View produces productive people.”

In 1962, George Ruble Woolfolk, perhaps the foremost Black historian in Texas at the time, published his most well-known work Prairie View: A Study in Public Conscience, 1878–1946, a history of the state’s first institution of higher education for African Americans. Recording the university’s first six decades of existence, Woolfolk’s book also chronicled the many social and educational challenges faced by Black Texans during what was still the Jim Crow Era in Texas and the American South.

Now, historian and scholar Ronald E. Goodwin has edited and annotated Woolfolk’s influential book, making it available and accessible to current scholars and students, as well as those interested in the early history of not only Prairie View A&M University but also of historically Black colleges and universities. Students and scholars in African American studies or the history of education will find Goodwin’s updated edition a valuable resource for study, research, and a more complete understanding of the historical contexts of higher education for people of color.

Published in coordination with the sesquicentennial of Prairie View A&M University, this new edition of Woolfolk’s classic work reintroduces a new generation of scholars and students to a vital and foundational work.

Curanderas—traditional healers in Mexican culture—bridge the gaps between multiple planes of existence—spiritual and material, modern and pre-modern—dispensing medicinal herbs, prayers, and instruction. Elizabeth de la Portilla writes of the world and practices of San Antonio curanderas. As a scholar, an ethnographer, and a curandera in training, her parallel perspectives uniquely aid readers in understanding this subordinated culture. Retelling the stories various healers have shared, interpreting their answers to her probing questions, and describing the herbs and recipes they use in their arts, the author vividly illuminates the borderland context of San Antonio. Scholars and readers of anthropology, sociology, Chicana and Chicano studies, and women's studies will savor the many layers of meaning and application in They All Want Magic.

Unburying the Bones is a book of poetry that serves as an ode to those with grief lingering in their bodies, latent or bubbling—but always present—either in the firm of their ribcage or the soft of their thighs. The poems bring to the fore pain made corporeal, the roots of misogyny, femicide, and the depths of matrilineality. It is an exploration of intimacy while reflecting on the lengths society has gone to subdue women. The writer reclaims sex as pleasure, her body as home, and her fear into drive.

A richly illustrated reflection on a century of Black queer art and culture featuring seven essays from leading scholars.

The word ecstasy derives from the Greek ekstasis, meaning “to put out of place.” It passed into English through the Old French extasie, which roughly translates as “rapturous.” Ecstasy, today, can be understood as a form of transcendence, often through an indiscriminate combination of extremes. Art’s truest depictions of ecstasy exist in the muddled territory between exaltation and despair. Transcendence highlights visual representations of Black queer ecstasy in a variety of media from the last one hundred years that challenge its absence from the historical record. Centering Blackness and queerness creates the conditions to investigate the potential of queer perspectives around the paradoxes of pleasure and pain, excess and lack, and autonomy and dependence.

This catalogue features seven essays by preeminent scholars of Black LGBTQ+ art and culture, each based on one of the volume’s subthemes: Portraiture; Beyond Figuration; Dance and Movement; Spirituality; Sex and Sensuality; Black Queer Futures; and Altered States. Together these themes represent the foundations of queer experiences and offer readers a space to engage with artwork and ephemera that highlight an ecstatically abundant past and advocate for a more inclusive and equitable future.

In Through the Lens, Caridad Moro-Gronlier redefines ekphrasis for a visually saturated world, expanding her poetic gaze beyond the image to include the objects, spaces, texts, and moments that shape our cultural and personal landscapes. These poems do more than describe―they interrogate, interpret, and reflect, treating each subject as a living, dynamic presence. Moro-Gronlier invites the reader to slow down, look again, and reconsider how meaning is made. This genre-defying collection dismantles the frame and reframes the familiar, challenging not only what we perceive, but the very structures that teach us how―and what―it means to see.

In the words of series editor Steven L. Davis, We Are Nature Defending Itself: An Anthology of Women on Bodies, Borders, and Place is “a revelation, a multicultural blend of well-known and emerging writers who come together to give nature a voice in our literature and our lives.” Not least of the many benefits to readers are its contributions from prominent Latina writers, presented here as advocates for the environment. Though this theme has long existed in Chicana literature, it has never been positioned as front and center as it is in this anthology.

Volume editor Cordelia E. Barrera also includes notable Anglo, African American, and Indigenous contributors, crafting a true cultural blend of distinctive writing that will appeal to older generations while inspiring new ones. By incorporating these border voices, this collection effectively challenges long-dominant mythologies of the American West and offers a prominent place for literatures of social justice and the environment.

The mix of poems, stories, and essays are divided into three sections: Bodies, Landscape, and Practices. Part I begins with the idea of experiencing and feeling a history of the body’s contact with landscapes and places as repositories of knowledge. Part II extends beyond particulars of private or public life to consider issues of place as sites and locations of radical action. Part III features ruminations and traditions of remembering, highlighting reciprocal relationships to the natural world that extend outward to the ways “women’s work” in and around the home shapes communal processes that reinforce continuity across time and space.

We Are Nature Defending Itself adds important new work to the growing canon of nature and borderlands writing by women of color. In turn, these new voices deepen and broaden our understanding of humanity and its relationship to the natural environment.

From the daughter of the legendary Mildred “Mama Dip” Council, a heartfelt cookbook celebrating four generations of Black restaurateurs and the soulful recipes that nourished a community. 

For nearly fifty years, Mama Dip’s Kitchen wasn’t just one of Chapel Hill, North Carolina’s most beloved restaurants―it was an institution. In 1976, with just $64 and a lifetime of kitchen wisdom, Mildred “Mama Dip” Council opened the doors to a gathering place that fed the soul as much as the stomach. Her youngest daughter, Anita Spring Council, honed her skills as a chef within its walls, learning the secrets of the Southern kitchen at her mother’s side. Now, the inheritor of this incredible legacy steps forward to share her family’s story.

In her tenderhearted debut cookbook, Southern Roots, Spring offers more than 100 dishes grounded in the oral recipe-sharing tradition. It’s a collection filled with treasured family secrets and vignettes from her experience coming of age as a Black girl in the Jim Crow South, all brought to life with a thoughtful, modern approach to the classics.

The recipes invite you to create a vibrant Southern table, from mouthwatering starters like PIMENTO CHEESE BISCUITS to showstopping main courses like FRIED GREEN TOMATO PARMESAN and SMOTHERED FRIED CHICKEN WITH ANDOUILLE SAUSAGE. You’ll find these updated classics alongside sweets like the decadent GOAT CHEESE POUND CAKE that will wow even the most demanding guests.

Beyond the recipes and stunning, colorful photography, Southern Roots is a powerful tribute to a large, loving, and hardworking entrepreneurial family who left an indelible mark on Southern culinary history. Warm, accessible, and bursting with flavor, this rich cookbook introduces a powerful new voice in Southern food and inspires home cooks everywhere to celebrate the enduring joy of a shared meal.

75 photographs

In When Home Is a Photograph, Leigh Raiford asks how Black people use photography to make home in the world. Raiford focuses on a selection of Black American activists and artists, including Marcus Garvey, James Van Der Zee, Eslanda Goode Robeson, and Kathleen Neal Cleaver to explore the complex relationship between racialized subjects and the medium of photography. As they traveled the world for study, for work, for pleasure, or for survival, these artists and activists took and collected photographs to express their political platforms and personal sense of self. Raiford considers the everyday image-making practices that these Black Americans employed to improve the condition of Black lives globally by imagining, identifying, inhabiting, leaving, defending, and destroying “home.” When Home Is a Photograph shows how these figures did not merely utilize photography to emplace themselves in the world—they demonstrated how the use of photography is itself a way to mediate one’s relationship to the world.

MOJORHYTHM is book one of the the three book The Root and Sky Series of short stories.

“Sheree Renée Thomas gives us a whirlpool of poem and story, a 'wild and strangeful breed' of cosmology. . ."―Tyehimba Jess, author of Olio, Pulitzer Prize Winner.

The award-winning Sheree Renée Thomas, author of Nine Bar Blues, returns with a new collection steeped in Hoodoo, fantasy, magic myths, and lore.

Meet a spacefaring prophet of the future digging in the crates of earth's past. Step into a Memphis salon where coiled braids hold ancient power, and stylists conjure Rootwork against forces both seen and unseen. Witness a future where the state claims bodies, and women forge a rebellion of fire and spirit from the land's deep memory. Follow a stylish African dandy spy navigating a world woven with intrigue and hidden currents of power. and enter a legendary diner whose culinary wares change fates.

These tales resonate with the magic and mystery, the deep rhythms and blues of the soul's passage through life and beyond. Short stories that invite readers into realms where ancient traditions and futuristic visions collide in a vibrant chorus of magic, music, and adventure, where the raw pulse of the natural world intertwines with the hum of tomorrow's technology, revealing the boundless wonders of existence.

This is a multigenre brew, strange and wondrous, exploring the supernatural currents of music, history, and culture, Hoodoo as an ancient modern spiritual force and living folklore, the exquisite whimsy and profound horrors found in existence, and the boundless territories of the impossible.

Lia fled her home after a brutal crime decades ago, but family, and the truth, will never let you go.Thirty years ago, in an empty plot of a quiet neighbourhood, a teenage girl's body was found quartered and burned. The investigation ended with no arrests and her family – middle class, educated, Catholic – quietly disintegrated. Three decades later, the hidden truth comes to light thanks to the father's ongoing love for the victim. That truth will reveal the raw realities lurking behind appearances, the cruelty of those who prioritize obedience and religious fanaticism, the complicity of the fearful and the indifferent, and the loneliness and desperation of those who seek to follow their own path, ignoring the dictates of their elders.Just as she did with Elena Knows and A Little Luck , Claudia Piñeiro delves into family ties, social prejudice, and the ideologies and institutions that affect our inner worlds to deliver a brave, moving novel that strikes at the heart of these private dramas.

Winner of the 2025 CAAPP Book Prize, selected by Cameron Awkward-Rich, Les Portes traces how harm against women and femmes takes root, recurs, and reshapes itself across generations. 

Unfolding in three movements—Le Début, Le Passé, and Le Présent—all of which rupture conventional domestic abuse narratives, and drawing heavily from zuihitsu, ekphrasis, erasure, and found forms to mirror the fractured experience of living through and after harm, these poems serve as radical meditations on the power to reflect as resistance. A queer woman caught in an abusive marriage begins to reimagine justice not as punishment but as something restorative, collective, and deeply non-carceral. 

In her debut book, Nnoka poses the question that propels the collection: “Where is the path forward / that ensures no recurrence?” Rather than gesture toward resolution, Les Portes dwells inside this question, and what emerges is not consolation but an immense reckoning.

A magical girl-gone-bad and a renegade mech pilot must stay on a date forever, even if it means destroying the world. Don't you want to help them?

A Ms. Magazine Most Anticipated Feminist Book of 2026 • A them Most Anticipated LGBTQ+ Book of 2026

"Delicious, insane, intoxicating." —Maya Deane, author of Wrath Goddess Sing

"This Is How You Lose the Time War but on crack." —Jace Molloy

Acrasia is in the ultimate long-distance relationship: with Opus Zhao, a man from another universe. She was a trans girl who was also an intergalactic moth-goddess. He was a trans guy who piloted a giant robotic tiger. They hated each other, then fell in love, then their universes moved apart. Now, years later, he's turned up in her dimension again. What won’t she do to keep him there? 

Combining Sailor Moon, Sex and the City, and House of Leaves, this riotous enemies-to-lovers romantasy roars off the page in the genre-exploding, galaxy-spanning, quick-quipping retro nostalgia futuristic thrill ride of a lifetime. Give in, succumb (you know you want to) to the unstoppable world of Plastic, Prism, Void.

The post-colonial birth, life, and death of the collective consciousness known as the Animal.

Middle-aged streamer twins in Bayamón, Puerto Rico, are the first human beings to successfully connect―sharing their consciousness across 34 translucent cables. In that moment, the Animal is born, an intracerebral force that quickly grows to encompass anthills of synaptically entwined bodies, a floating library kitchen redolent of rice and beans far above the Mississippi river, and a transhuman compound in a future Cuba on the Isle of Youth. 

Circling back and forth and ever progressing, Animal Spiral moves through 400 years of human, and then post-human history, beginning with a revolution on the streets of San Juan and ending with five brilliant siblings: the Squash (humanoid), Calima (beetles), Yemayá (eels), Coatlicue (serpents), and Juracán (anthropomorphic birds), who have millions of bodies and all the world’s intelligence, but only want to no longer be alone. This is a buoyant, joyous ode to possibility, a warning about the dangers of neglecting what makes us human, and an astonishing exercise of the flexibility and capacity of liminal spaces. Loneliness is a collective disease! We defend our right to madness! Brave are not the ones who resist; brave are the ones who let go!

A bold vision for a Black and Indigenous future rooted in real solidarity, a future that exists beyond the confines of the liberal imagination

Current advocates of reparations for slavery and land back often fail to scrutinize racial capitalism and settler colonialism, instead accepting that their destinies will forever be tied to US empire. But as scholar Kyle T. Mays insists in When We Are Kin, we can and should demand a kind of repair that goes beyond a white supremacist idea of what justice can be. 

In a series of short essays, Mays traces the history of alliances between Black and Indigenous movements; outlines the limitations of certain demands for reparations, including cash payments, that do not fundamentally critique racial-settler capitalism; and interrogates contemporary land back initiatives that fail to fully address decolonization. Along the way, he asks, What does solidarity look like between Black and Indigenous peoples in the United States? Can we find ways to co-belong and co-resist on Turtle Island?

Drawing on the Anishinaabe philosophy of mino-bimaadiziwin (the good life), Mays argues that we can resist as kin only when we center the land in building our collective futures.

Love and revolution in a crumbling world order.

Roma has a steady job, a mortgage, and a surrogate family in Queens. But as she moves through her daily routines, the powerful Empire that rules her world bares its teeth elsewhere—crushing freedom movements across the planet, including the Punjabi farmers’ uprising where her younger brother struggles on the frontlines.

Roma’s life is upended when her older brother entrusts her with a strange gift: an ordinary-looking plant that manifests a sophisticated bioengineered technology. The ‘cell’ opens a portal for an extraterrestrial spirit-body bearing news of a liberated future–and the potential to hack AI warfare—propelling Roma and her family into the core of a rising resistance.

As dreams and dialectics converge, Roma meditates on the role of faith—ruminating on mystic poetics and anticolonial legacies while yearning for a bewitching woman whose heart will only ever belong to the revolution.

Dominique Morisseau’s most radical play yet follows two Black women living more than a century apart as they struggle to define freedom for themselves.

Confederates tells the story of two women in what at first appear to be radically different circumstances. Sara is an enslaved rebel ferrying information from the plantation to Union soldiers. Sandra is a political science professor fighting the patriarchy at a predominantly white university. As the play progresses, the line between the past and present blurs, raising questions about how far we have come since 1865—and how far we still have to go.

In Morisseau’s words, "I don’t believe in the inhumanity of the enslaved." This play delves into serious themes with a satirical tone, juxtaposing humor and sexuality alongside pain and struggle. Confederates is an ambitious work by one of America’s most exciting playwrights.

Interweaving the sacred and the erotic, This Elegance engages with visual arts through the concept of sacra conversazione (“sacred conversation”), a style of Renaissance painting that imagines divine communion across time and space. Here, artists, thinkers, and pop icons commune in a similar sacred dialogue—Kathleen Collins, André Leon Talley, Richmond Barthé, Lyle Ashton Harris, Juan de Pareja, Janelle Monáe, Symone, and others appear as guiding spirits and creative kin.

For a Black, queer person so often dislocated from time and place, pleasure becomes an act of resistance—a grounding in the now. This Elegance is a love song—an offering to Black artistry, a tribute to visionary lives, and a testament to the power of beauty in even our most precarious moments.

By the International Booker Prize Shortlisted Author of On Earth As It Is Beneath

Edgar Wilson has a gruesome job, one he is entirely unsentimental about―he cleans up roadkill in rural Brazil. But one day vultures are circling in the woods, and he can’t not go see what they’re gathering for.What transpires is a quest―a miserable day-long journey―for a couple of poor working men who only want to acknowledge that everybody (and in this case, every literal body) has the right to be treated as more than just scrap or trash. Dead animals, defrocked priests, corpses abandoned in the woods, and a criminal outfit trafficking in body parts―Bury Your Dead is an exhortation, a road trip, a story of friendship, and a hymn to the small ways we can shape the world. Ana Paula Maia’s alchemy with the grimmest of ingredients makes this her more hopeful, generous novel yet.

A comic thriller where, too many craft beers and one crappy punch later, a dutiful trip back home to family spirals into a baffling whirlwind of murder, pills and fraud. 

After many peaceful years abroad, JP has returned home to Mexico to visit family and help care for his elderly mother. Instead, however, he finds himself at a bar, his fist inches from the face of Everardo, his sort-of childhood friend. He lands the blow and runs home. But when Everardo turns up dead the next morning, JP soon finds himself blamed for a murder that he (probably) didn't commit. What’s going on? Can Lagos really be more full of drugs, extortion, and fraud than when he left? Why is everyone offering him pills? How's he ever going to pay for his mother's medical treatment? It wasn't even that good a punch!

Weaving outright hilarity with wry tenderness, The Past Pursues Us is a fast-paced and funny whodunit that lovingly speaks to the stories we tell ourselves about home: about what changes, what doesn't, and what should.

‘I was riveted and charmed by this funny, humane and poignant novel. It’s written in a voice that is as ardent as it is sensitive, one marked by history and yet managing to remain beautifully unruly and independent.’ – Hisham Matar, author of My Friends and The Return 

 In an East London housing office, a frustrated local government employee spends his days trying to figure out what the latest policy announcement means for both himself and the migrants he works with every day. As a favour to a friend, he finds himself roped into organizing the funeral of Ghiyath, a young Syrian refugee. But it is not until his life collides with Ghiyath’s death that he realises just how much he has in common with those who’ve fallen through the cracks. Told with a wry cynicism and deadpan wit, On the Greenwich Line traces the absurdities of racism, austerity, and bureaucracy in contemporary England. This is a story about systemic failure and human courage, and about London and its many lost souls.