The highly anticipated sequel to the instant #1 New York Times bestseller Nic Blake and the Remarkables: The Manifestor Prophecy—a boldly original and suspenseful fantasy adventure by one of the most popular and imaginative voices of this generation, Angie Thomas. Now in paperback!

After years of living in hiding in the Unremarkable world, all of Nic’s dreams have finally come true: She’s got certified hero status, a big family and a real home in the Remarkable city of Uhuru, and a chance to develop her Gift at a school for young Manifestors like her.

So life is perfect, right?

Not quite. Her-favorite-author-turned-vengeful-outcast wants to destroy her. Then there’s the terrifying prophecy that still threatens Nic’s future, and the dangerous new power she seems to have—one she cannot control. And that’s all before she encounters a cult of mysterious Manifestors who threaten to reveal her secrets unless Nic delivers to them a legendary artifact, the Book of Anansi. There’s just one small complication: no one knows if it still exists or where it could be hidden.

Nic now has only her twin brother, Alex, and her best friend, JP, to rely on as she makes a desperate attempt to uncover one of the Remarkable world’s oldest mysteries—and hold on to the home and family she has been searching for her entire life.

Instant #1 New York Times bestseller!

Internationally bestselling superstar author Angie Thomas makes her middle grade debut with the launch of an inventive, hilarious, and suspenseful new contemporary fantasy trilogy inspired by African American history and folklore.

It’s not easy being a Remarkable in the Unremarkable world. Some things are cool—like getting a pet hellhound for your twelfth birthday. Others, not so much—like not being trusted to learn magic because you might use it to take revenge on an annoying neighbor.

All Nic Blake wants is to be a powerful Manifestor like her dad. But before she has a chance to convince him to teach her the gift, a series of shocking revelations and terrifying events launch Nic and two friends on a hunt for a powerful magic tool she’s never heard of...to save her father from imprisonment for a crime she refuses to believe he committed.

In The Last Chance for Logan County, the third Legendary Alston Boys mystery from Edgar Award nominee Lamar Giles—now in paperback—Otto and Sheed team up with the Epic Ellisons against a corporation that wants Logan County’s weirdness for itself!

Otto and Sheed are back in yet another legendary adventure that just might take all their deduction skills, and a little help, to solve.

With their journey through the last mirror on the left behind them, Otto and Sheed are ready for things to get back to normal. But their trip to that other dimension had side effects, and they come on quickly—starting with a thunderstorm that rains carnivorous frogs!

And that's only the beginning. When a suspicious company called GOO, obsessed with Logan County's weirdness, shows up and starts buying all the property in town—and threatening to take Sheed away from Otto—some of the adults start acting stranger than usual, almost… zombie-like?

With the help of Otto's mom, Sheed's dad, and the Epic Ellison twins, can the Legendary Alston Boys find a way to save their town and keep their family together?

In The Last Mirror on the Left, the second Legendary Alston Boys mystery from Edgar Award nominee Lamar Giles—now in paperback—Otto and Sheed must embark on their most dangerous journey yet, bringing a fugitive to justice in a world that mirrors their own but has its own rules to play by.

Unlike the majority of Logan County's residents, Missus Nedraw of the Rorrim Mirror Emporium remembers the time freeze from The Last Last-Day-of-Summer—and how Otto and Sheed took her mirrors without permission in order to fix their mess.

Usually that’s an unforgivable offense, punishable by a million-year sentence. However, she’s willing to overlook the cousins’ misdeeds if they help her with a problem of her own. One of her worst prisoners has escaped, and only the Legendary Alston Boys of Logan County can help bring the fugitive to justice!

And don't miss the Legendary Alston Boys in their next adventure: The Last Chance for Logan County!

The lives of real heroes prove this truth: equality is won when we rise together.

1880s, Ohio. When Mary and Anna enter the Bachelor of Arts program, also known as the "gentlemen's course" of study, at Oberlin College, they have little in common other than the color of their skin and their passion for education.

While Mary was raised in luxury, attending presidential inaugurations with her wealthy father, Anna is a schoolteacher, likely the daughter of her enslaved mother's former owner, and works a second job to pay for her room and board. But despite their differences, both women share strength, ambition, and a deep yearning for change. If they can bridge the gaps between them, they just might build a lasting legacy.

From its earliest days in the 1830s, Oberlin College admitted men and women, white and Black students. Though the doors are officially open, school policy cannot change the hearts of classmates who refuse to see a woman, and especially a Black woman, excel. Despite constantly being forced to prove themselves, the women triumphantly overcome every obstacle and push through their pain. And as the world evolves around them, Mary and Anna persevere to build a legacy of success and excellence.

Based on the real lives of Mary Church Terrell, Anna Julia Cooper, and Ida Gibbs Hunt, The Ladies Hall is a mirror into times of great change--where progress and new possibilities are met with violence and resistance . . . but hope always rises. And it rises still.

USA Today bestselling author Nadine Gonzalez pens a romance between two speculative fiction authors who discover their writing retreat is haunted by a pair of star-crossed lovers. Their messages from the beyond will change everything…
A chance encounter between Jules and Leo sparks an attraction so incandescent that a decade of distance has not put it out. Reunited in Key West for a lecture series, the fantasy writer and the horror author check into The Aurora Inn, the home of restless spirits themselves haunted by tragic loss. In learning about the history of the space, the fire that changed everything, and the mystery behind the haunting, Leo and Jules come together on a journey of discovery as they write their own love story.
What happens when a horror and a fantasy writer check into a haunted B&B?
If fate has its way, the star-crossed lovers will find each other in this world or the next.

Richly allusive, the poems in Brigit Pegeen Kelly’s The Orchard evoke elements of myth in distinctive aural and rhythmic patterns. Her poetic strength lies in her ability to cast poems as modern myths and allegories. Propelled by patterned repetitions and lush cadences, the poems move the reader through a landscape where waking and dream consciousness fuse.

Brigit Pegeen Kelly teaches creative writing at the University of Illinois at Urbana-Champaign. Her poetry collections are Song (BOA Editions), the 1994 Lamont Poetry Selection of The Academy of American Poets and a finalist for the 1995 Los Angeles Times Book Award, and To the Place of Trumpets, selected by James Merrill for the 1987 Yale Series of Younger Poets Prize.

Poetry. African & African American Studies. LGBTQIA Studies. Women's Studies. Art. Edited by Erica Hunt and Dawn Lundy Martin. A collection of poems, essays, elder conversations, and visual works, LETTERS TO THE FUTURE: BLACK WOMEN / RADICAL WRITING, celebrates temporal, spatial, formal, and linguistically innovative literature. The anthology collects late-modern and contemporary work by Black women from the United States, England, Canada, and the Caribbean--work that challenges readers to participate in meaning making. Because one contextual framework for the collection is "art as a form of epistemology," the writing in the anthology is the kind of work driven by the writer's desire to radically present, uncovering what she knows and does not know, as well as critically addressing the future.

Erica Hunt, in her introduction to the collection, says, "The future is a slippery project. What can it hold? We asked writers to write about it, imagining the future as the present conjugated--conjoining the past, the present with some other time...One dimension that drew our curiosity was to know how this particular group of Black women writers would respond to the question of tomorrow. The Black women in this edition were writers we'd known or been introduced to who had been insistent makers of poems and prose that set up radical encounters between language, person, community and the political. We discussed these letters as we received them, marveling at the range of strategies to refract, forecast or expand the penumbra of the present into the shifting and dim lit future."

In Dawn Lundy Martin's introduction, she says, "It has always been difficult for me to conceptualize what we call blackness in relation to human bodies, particularly myself as an indicator of the thing I don't quite understand. It's a strange predicament, and a worrying one...On the one hand, the claim of blackness need not be a claim. A black person in the world experiences themselves as black given the perception by others as to what black is. It is a (mis)recognition, always legible, often very slight in the adjustment of the face, a minor tick, a momentary widening of the eyes, almost imperceptible in its speechless announcement, 'a black is in the room.'"

List of contributors includes Betsy Fagin, Ruth Ellen Kocher, Robin Coste Lewis, Lillian Yvonne Bertram, LaTasha N. Nevada Diggs, r. erica doyle, Adjua Gargi Nzinga Greaves, Duriel E. Harris, Harryette Mullen, giovanni singleton, Evie Shockley, Khadijah Queen, Wendy S. Walters, Adrian Piper, Yona Harvey, Harmony Holiday, Tracie Morris, Claudia Rankine, Deborah Richards, Metta Sáma, Kara Walker, Renee Gladman, Tonya Foster, Julie Patton, Akilah Oliver, Simone White, M. NourbeSe Philip, Lucille Clifton and Sonia Sanchez in conversation, Wanda Coleman interview, Jayne Cortez and Sekou Siundiata with Tracie Morris, Erica Hunt, Dawn Lundy Martin, and Tisa Bryant.

“Lyrical, beautiful, and descriptive.” ―Mandana Chaffa, BOMB

“In ravishing, formally exploratory poems, Maya C. Popa wields the lyric like a reparative scalpel, evoking wonder and woundedness in equal measure.” ―Meghan O’Rourke

Award-winning poet Maya C. Popa suggests that our restless desires are inseparable from our mortality in this pressing and precise collection. Rooting out profound meaning in language to wrench us from the moorings of the familiar and into the realm of the extraordinary, the volume asks, how do we articulate what’s by definition inarticulable? Where does sight end and imagination begin?

Lucid and musically rich, these poems sound an appeal to a dwindling natural world and summon moments from the lives of literary forbearers―John Milton’s visit to Galileo, a vase broken by Marcel Proust―to unveil fresh wonder in the unlikely meetings of the past. Popa dramatizes the difficulties of loving a world that is at once rich with beauty and full of opportunities for grief, and reveals that the natural arc of wonder, from astonishment to reflection, more deeply connects us with our humanity.

A New York Times Editors’ Choice book from the author of the award-winning Tap Out – “a gritty, insightful debut” (Washington Post) – Edgar Kunz’s second poetry collection propels the reader across the shifting terrain of late-capitalist America. 

 Temp jobs, conspiracy theories, squatters, talk therapy, urban gardening, the robot revolution: this collection fixes its eye on the strangeness of labor, through poems that are searching, keen, and wry. The virtuosic central sequence explores the untimely death of the poet’s estranged father, a handyman and addict, and the brothers left to sort through the detritus of a life long lost to them. Through lyrical, darkly humorous vignettes, Kunz asks what it costs to build a home and a love that not only lasts but sustains.

WINNER OF THE 2025 JAMES LAUGHLIN AWARD FROM THE ACADEMY OF AMERICAN POETS

A stunning new collection exploring lineage and the legacy of survival as seen through the life of the poet’s grandmother Alice—a Black woman born in the Jim Crow South—using the King James Bible as a narrative framework.

“Alice / a god-song, swings still in the high / branch of our throats. I miss her, wonder / what she plants in heaven’s mulch.”

When her grandmother died, poet Diamond Forde inherited a well-worn family Bible to remember her by. In The Book of Alice, she retells the story of her grandmother’s life through the framework of the only poetry Alice knew: the King James Bible. A Black woman born in the Jim Crow South, Alice joined the tide of the Great Migration when she made her exodus to New York City. She married, divorced, and raised eight children, all while struggling to define herself in an America that looks frighteningly like our own. Using found forms like recipes, a family tree, and a US Census Report alongside imagined psalms and scriptures, Diamond draws bold parallels between biblical narratives and the lived experiences of those often relegated to the margins of history. The result is both a heartfelt elegy and a new sacred text.

The award-winning poet Carl Phillips's invaluable essays on poetry, the tenth volume in the celebrated Art of series of books on the craft of writing

In seven insightful essays, Carl Phillips meditates on the craft of poetry, its capacity for making a space for possibility and inquiry. What does it mean to give shapelessness a form? How can a poem explore both the natural world and the inner world? Phillips demonstrates the restless qualities of the imagination by reading and examining poems by Ashbery, Bogan, Frost, Niedecker, Shakespeare, and others, and by considering other art forms, such as photography and the blues. The Art of Daring is a lyrical, persuasive argument for the many ways that writing and living are acts of risk. "I think it's largely the conundrum of being human that makes us keep making," Phillips writes. "I think it has something to do with revision―how, not only is the world in constant revision, but each of us is, as well."

Kaveh Akbar’s exquisite, highly anticipated follow-up to Calling a Wolf a Wolf

With formal virtuosity and ruthless precision, Kaveh Akbar’s second collection takes its readers on a spiritual journey of disavowal, fiercely attendant to the presence of divinity where artifacts of self and belonging have been shed. How does one recover from addiction without destroying the self-as-addict? And if living justly in a nation that would see them erased is, too, a kind of self-destruction, what does one do with the body’s question, “what now shall I repair?” Here, Akbar responds with prayer as an act of devotion to dissonance―the infinite void of a loved one’s absence, the indulgence of austerity, making a life as a Muslim in an Islamophobic nation―teasing the sacred out of silence and stillness.

Richly crafted and generous, Pilgrim Bell’s linguistic rigor is tuned to the register of this moment and any moment. As the swinging soul crashes into its limits, against the atrocities of the American empire, and through a profoundly human capacity for cruelty and grace, these brilliant poems dare to exist in the empty space where song lives―resonant, revelatory, and holy.

A poignant picture book about a family's resilience in the midst of the climate crisis as they prepare for an incoming storm.

The weather is always changing where Arianna lives. From baking summers to icy winters, she and her family have learned to cope with whatever the weather throws at them. But one time of year frightens Arianna more than anything else: hurricane season.

Hurricanes don't come to her southern US city every year, so she watches the sky and waits in worry. When a storm looms close by, Arianna and her parents stock up on food and water, refill first-aid kits, and board up windows. And when the hurricane arrives and floods Arianna’s home, her mother softly sings, “Hush, hush, hurricane, don’t you creep. Hush, hush, hurricane, let us sleep.” Arianna spends a long night in her parents’ arms. By morning, the storm has faded, and everyone's all right.

With lyrical text by Deborah D.E.E.P. Mouton and stunning illustrations by Trudy Tran, Hush, Hush, Hurricane reassures us that it's okay to be afraid when scary things happen, while offering helpful reminders: Be prepared, have a plan, and take care of your family and neighbors. Features backmatter that includes an emergency preparedness list and author's note.

Slavery helped finance the Industrial Revolution in England. Plantation owners, shipbuilders, and merchants connected with the slave trade accumulated vast fortunes that established banks and heavy industry in Europe and expanded the reach of capitalism worldwide. Eric Williams advanced these powerful ideas in Capitalism and Slavery, published in 1944. Years ahead of its time, his profound critique became the foundation for studies of imperialism and economic development. Binding an economic view of history with strong moral argument, Williams’s study of the role of slavery in financing the Industrial Revolution refuted traditional ideas of economic and moral progress and firmly established the centrality of the African slave trade in European economic development. He also showed that mature industrial capitalism in turn helped destroy the slave system. Establishing the exploitation of commercial capitalism and its link to racial attitudes, Williams employed a historicist vision that set the tone for future studies.

William A. Darity Jr.’s new foreword highlights Williams’s insights for a new generation of readers, and Colin Palmer’s introduction assesses the lasting impact of Williams’s groundbreaking work and analyzes the heated scholarly debates it generated when it first appeared.

Out of the Great Dismal Swamp, a huge morass of swampland straddling the Virginia and North Carolina eastern seaboard, there emerged a distinct culture of enslaved insurgency and fugitive subversion. Maroons who fled enslavement and resettled in wilderness spaces utilized the deep interior swamps to establish permanent, multigenerational autonomous communities. Historian Kathryn Benjamin Golden reveals for the first time the role of Black women in these maroon communities and locates them in the forests, swamps, and records where they have previously evaded detection and attention.

This Insurgent Ground centers the Black women who aided, supported, led, and nurtured maroon movements in the Great Dismal Swamp as they collaborated with enslaved people in rebellion. Throughout the region, Black women resisted the injustices of reproductive violence, sexual assault, and desecrated motherhoods. Acting as agents of counterintelligence, participants in defensive violence and militant strategy, and mothers and providers of alternative autonomous communities, these women dared to redirect and repossess their energies and their bodies in absolute defiance of the very economic workings of slavery and in refusal of borders, bondage, confinement, and capture.

Longlisted:
2017 OCM Bocas Prize for Caribbean Literature

When the infant Jordan Sant is taken to the St Asteria Home for Children after the murder of his parents, he sets out on a journey that is a constant struggle between his best and worst selves. One relationship, with the young nun the children call Mouse, awakens the possibilities of love and hope, but when Mouse abandons her calling and leaves the home, the world thereafter becomes a darker place. When, barely a teenager, he runs away from the home to scuffle for a living in the frightening underbelly of Port of Spain, Jordan reaches the lower depths of both Trinidadian society and himself.

Black Architect ist eine provokante Erkundung der Schnittstellen zwischen ethnischer Herkunft, Identität und gebauter Umwelt. Sekou Cooke verbindet eigene Erinnerung, Kulturkritik und freimütige Gespräche mit Kolleg:innen ebenfalls afro-amerikanischer Herkunft, um zu ergründen, was es wirklich bedeutet, als Schwarze Person in den USA Architekt:in zu sein.

Cooke zeichnet seinen eigenen Weg nach, von der Kindheit in Jamaika und der frühen Faszination für Architektur über die Ausbildung an Ivy-League-Hochschulen bis hin zu einem Berufsfeld, das von eurozentrischen Idealen geprägt ist. Er konfrontiert uns mit einer unbequemen Realität: Architektur wird in den USA bis heute durch eine überwiegend weisse Brille konstruiert – im wörtlichen wie im übertragenen Sinn. Was aber geschieht, wenn das Schwarz-Sein diesen konzeptionellen Raum betritt, als Identität, als Art zu denken, zu gestalten und zu leben?

Black Architect bietet uns Antworten auf diese Frage durch eine fesselnde Mischung aus persönlicher Erzählung und Interviews mit einigen der einflussreichsten schwarzen Architekt:innen und Theoretiker:innen der Gegenwart. Das Buch zeichnet die historische Marginalisierung schwarzer Stimmen in der Architektur nach, die strukturellen und kulturellen Hindernisse, mit denen sie konfrontiert sind, und die alternativen Visionen, die sie in die Disziplin einbringen. Es ist eine kritische Auseinandersetzung mit einer exklusiven Vergangenheit und ein hoffnungsvoller Entwurf für eine inklusive Zukunft zugleich. Vor allem aber zeigt es auf, wie eminent wichtig dieses Thema auch für jene ist, die weder schwarz noch Architekt:in sind.

Selected as one of Hyperallergic’s 15 Art Books We’re Excited to Read in 2026

This book chronicles the transformative impact of Black curators on American art museums since the 1970s as told by visionaries at the forefront of the change.

The relationship between Black Americans and U.S. art museums has historically been fraught and hard-won. In the late 1960s, the Black Emergency Cultural Coalition and other groups organized protests at major art museums, calling for the inclusion of Black artists and curators. Such advocacy led to acquisitions and exhibitions by Black artists at important institutions and spurred the establishment of museums and cultural organizations promoting Black art and culture. Today, Black curators hold significant positions at institutions nationwide. Black Curators Matter illuminates this critical history by spotlighting figures who have transformed the art world since the 1970s.

This book presents illuminating conversations between six pioneering curators―Lowery Stokes Sims, Deborah Willis, Richard J. Powell, Kellie Jones, Thelma Golden, and Franklin Sirmans―and a new generation of professionals, including Ashley James, Kalia Brooks, Aaron Bryant, Thomas Jean Lax, Rujeko Hockley, and LeRonn P. Brooks. Capturing the voices and experiences of Black curators, these discussions highlight their achievements and provide guidance for future generations aiming to diversify and enrich the cultural landscape. This volume reexamines the curatorial field to reveal the transformative strategies, critical interventions, and boundary-breaking exhibitions that reshaped American art museums toward greater inclusivity and experimentation.

A landmark survey of African American literature about Black experiences of the maritime environment.

The ocean is foundational to the story of Africans in America, beginning with the searing Middle Passage. Initially evoking terror, pain, and death, the ocean also became associated with escape, empowerment, freedom, and home, as over time, African Americans in seaport towns found work, built communities, and gained knowledge from travelers. David R. Anderson shows in this groundbreaking collection of memoir, fiction, poetry, and more that African American maritime literature summons many of the traditional themes―survival in the face of overwhelming natural force, sublimity, demonstration of skill and merit, and self-discovery―but often with an eye on legacies of imperialism, slavery, discrimination, and cultural erasure.

Divided thematically across ten sections that address peril, labor, recreation, and more, the book gathers work by influential writers and intellectuals from the eighteenth century to the present, including: Lucille Clifton, Edwidge Danticat, Frederick Douglass, Alice Dunbar-Nelson, W. E. B. DuBois, Camille T. Dungy, Marcus Garvey, Robert Hayden, Zora Neale Hurston, Major Jackson, Harriet Jacobs, John S. Jacobs, Nella Larsen, Claude McKay, Toni Morrison, Walter Mosley, Natasha Trethewey, Phillis Wheatley, Colson Whitehead, and Kevin Young.

Uses an intersectional and intertextual methodology to present a rigorous yet accessible study of Black queer women artists in theater and film.

In A Conditional Embrace, Kristyl D. Tift seeks to understand how Black queer women theater and film artists depict their own survival in heterosexist temporalities and spaces. Using the framework of lovin’ on—a theory inspired by Black feminist thought, performance theory, and queer theory—Tift closely reads the works of a selection of artists to investigate the “conditional embrace” of Black queer art in society. Her intersectional and intertextual methodology considers the text and body as part and parcel of performance work, allowing her to examine the multiple and complex intersections of identity at play in works meant to be read and performed. Tift puts the work of more visible artists such as Dee Rees, Sharon Bridgforth, and Staceyann Chin in direct conversation with lesser-known contributors to Black queer feminist performance such as Shirlene Holmes and Donnetta Lavinia Grays, analyzing not only their plays, installations, and poetry but also interviews, personal essays, performances, and more. Centering the works of artists situated, by birth or migration, in the Southern US and the Caribbean, A Conditional Embrace explores how artists at the margins of art and society represent Black queer women’s survival through processes of self-making, community-building, and homemaking.

Dive into the rich, comforting world of one-pot cooking with Stews, a collection of 90 irresistible recipes that honor the ancient, universal tradition of gathering around a simmering pot of bold and delicious flavors.

From the self-proclaimed “CEO of Stews,” Xavier Bramble—whose journey spans from running a student food service in his dorm room to dazzling audiences on BBC’s Young MasterChef—this cookbook is your passport to vibrant, flavorful meals that are as easy to make as they are to share.

With every recipe, you’ll travel to kitchens across the globe: savor the bold spices of India, the hearty comfort foods of France, the zesty and warm ingredients of Brazil, or the nostalgic aromas of your own childhood.

Inside, you’ll find recipes like:

* Greek Beef Stifado
* West African Chickpea Stew
* Chile Colorado
* Louisiana Red Beans and Rice
* French Beef Bourguignon
* Moroccan Sea Bream Tagine

Whether you’re feeding a crowd or craving a cozy night in, Stews is your guide to creating soul-satisfying meals with minimal effort and maximum flavor. No fancy techniques—just simple, affordable, and utterly delicious dishes that bring people together.

With Stews, you’ll discover that the oldest way of cooking is still the most joyful. So grab a pot, gather your ingredients, and let Xavier Bramble show you how to stew your way around the world.

This unique volume provides each writers reflection on her work, an evaluation of that writer by two perceptive critics, and detailed biographical and bibliographical data.  Included are Maya Angelou, Toni Cade Bambara, Nikki Giovanni, Toni Morrison, Alice Walker, and ten other outstanding writers.

In Rescuing the Enlightenment from the Europeans, Nikita Dhawan puts the critical project of decolonization into conversation with the Enlightenment. She explores the ethical-political challenges faced by postcolonial thought, which must be articulated using the very language of Enlightenment discourses on human rights, democracy, international law, sovereignty, and justice—even as these norms are subjects of postcolonial critique. Bridging postcolonial and Holocaust studies while also highlighting differences from decolonial approaches, she engages with thinkers ranging from Kant to the Frankfurt school to defend them against accusations of normative nihilism, antisemitism, and epistemic servitude to Europe. Dhawan argues that criticizing the Enlightenment and its legacies does not necessarily entail rejecting them, nor does engaging with Enlightenment principles mean endorsing them unconditionally. Instead, she makes a case for rescuing the best aspects of the Enlightenment in order to further the critical project of decolonization.

Framed by brilliant readings of Gilles Deleuze and Félix Guattari, Gabriel Tarde, and Mikhail Bakhtin, Maurizio Lazzarato’s Revolutions of Capitalism charts a new theory of contemporary capitalism and the politics against it. Originally published in French in 2004, this newly translated work sees capitalism as driven, not only by labor or value, but by the capture of cooperation and by the taming of possibles. Lazzarato theorizes how contemporary capitalism depends on noo-politics, or the “action of brains at a distance on other brains,” which seeks to control memory and attention and to trap the proliferation of possibles. Against this, Lazzarato reveals how current social movements attack established institutions and their vision of a single possible world to liberate the creation and actualization of a multiplicity of possible worlds.

Ricardo A. Bracho is a queer Chicano Marxist playwright from Los Angeles whose theatrical works dramatize the lives of gay Black and Brown partisans of anti-capitalism and decolonization. Characterized by their playful use of theory, Bracho’s plays utilize the stage as a place for characters to debate questions of sexual and political liberation. Though Bracho’s work has been breaking ground within the experimental Latinx theater and arts community since the 1990s, his plays have not been widely accessible beyond their staging. Driven by passion—for politics, for the dancefloor, for dispossessed bodies, communities, and lands—Bracho’s award-winning plays express a polyphony of outlaw voices and contemporary dramas. With a foreword by Bracho’s teacher and iconic Chicana writer Cherríe Moraga, an afterword by Juana Maria Rodriguez, as well as critical notes and an introduction by editors Jennifer Ponce de León, Richard T. Rodriguez, and Randall Williams, Puto makes Bracho’s key works available to a broader public for the first time, bringing Bracho’s frank, transgressive, and revolutionary work to the forefront just when the world needs it most.

The worship of Yoruba deities known as oriṣa is commonly understood as an indigenous African religion, but Ayodeji Ogunnaike argues that these traditions initially differed from the modern Western concept of religion. In Forms of Worship, Ogunnaike analyzes how the configuration of oriṣa worship has changed across the Yoruba diaspora and homeland. As the meaning of the Yoruba word ẹsin, usually translated as “religion,” is closer to “form of worship,” he examines how reorienting understandings of oriṣa traditions as multiple forms of worship changes how religious identity, practice, and dynamics can be understood in contemporary and historical perspectives. By developing indigenous models for religious phenomena, Ogunnaike accounts for Yoruba cultural dynamics, including the high degree of religious harmony, syncretism, and interaction prevalent both in Nigeria and Brazil. Furthermore, he tracks the subtle and largely unperceived shift in oriṣa worship toward a more modern, closed, and rigid conception of religion and its resulting complications. Forms of Worship demonstrates how the advent of Western religious rigidity regarding practice and identity has led to rising religious tensions and fragmentation.

In Afroindigenization, Catherine A. John addresses the underbelly of spiritual resilience shaping a range of African diasporic institutions, traditions, and practices. John argues that repressed forms of indigenous African knowledge systems manifest in a myriad of culturally embodied ways in African diaspora spaces and places. From mermaid lore in rural Jamaica to hip-hop trance-induced dance in Los Angeles to the stories of two debaters-turned-social-media-influencers, John shows how the descendants of enslaved Africans express the signs and substance of their afroindigenous power through collective creativity. Drawing from scholars such as Vèvè Clark, Hortense Spillers, Dianne M. Stewart, and Sylvia Wynter, Afroindigenization exposes the cultural and spiritual ancestries that lie at the heart of modern Black identities and practices.

In the wake of Hurricane Katrina and the subsequent mass displacement of black neighborhoods in New Orleans, black queer performers redefined notions of belonging throughout the city. These unlikely figures, such as artists Big Freedia and Vockah Redu, played a significant role in calling the displaced back home and serving as beacons of hope. In Raising the Bottom, Alix Chapman engages in performance ethnography, taking to the stage while writing about the lives of these bounce artists and their extended community. He theorizes an epistemology of the bottom—a way of knowing, praxis, and aesthetic—which contests hierarchies of value that place black and queer bodies at the lowest rungs of the social ladder. By engaging in this bottom episteme, bounce performers leverage pleasure and coalition to transform collectives not meant to survive crisis and disaster. Raising the Bottom shows how black queer artists address, remix, and redirect stereotypes to amplify community power, pleasure, and solidarity.

According to Islamic tradition, God has at least ninety-nine names. In Ninety-Nine, Amira Mittermaier presents ninety-nine short chapters based on her fieldwork and interviews with over one hundred Egyptians about who God is to them. In Egypt’s turbulent twenty-first century—the Egyptian uprising, a military coup, a pandemic, a climate crisis, wars across the region—God is talked about endlessly yet remains elusive. Ninety-Nine follows Allah into different spaces and conversations without ever claiming to get the full picture. We meet a Cairo beggar, an enigmatic dervish, a queer agnostic, and a Salafi housewife. We meet a depressed God, a cute God, a God who has stopped caring, a loving God, and a God who is a bully. We learn about divine interventions, big and small, and about daily struggles, even fights, with God. An intimate mosaic of Allah, Ninety-Nine celebrates the multiplicity inherent to the Islamic tradition and offers insight into how present-day Muslims grapple with big theological questions amidst their busy lives.

In Art as Sanctuary, Michael D. Harris considers literal and metaphorical uses of sanctuary in the black experience and African diaspora art, including locales of spiritual expression, self-renewal, and cultural celebration. Harris offers an alternative framework to the Duboisian philosophy of double consciousness, pushing the boundaries of Africana aesthetic analysis by exploring the cultural signifiers embedded consciously or unconsciously in African diaspora art. Within these works, he reveals how these cultural cues speak to the vibrancy of African American life. While acknowledging the presence of the white observer’s gaze, Harris wishes to relieve the black interior from the panoptic assumptions of that gaze and its disciplines. Art as Sanctuary provides innovative pathways to understand African American visual culture and music as autobiographies of cultural identity and experience.

The Borders of America examines the tension between human migration and the diverse formations of border control and immigration and asylum policy that have arisen across the Americas since the start of the twenty-first century. The collection develops a single analytical framework that is hemispheric in scope, encompassing the United States, Canada, the Caribbean, and the full extent of Latin America. The contributors offer the concept of a “border regime” as an epistemological and methodological approach that comprehends borders not merely as physical demarcations between state territories and jurisdictions but rather as expansive, uneven, and heterogeneous spaces of constant encounter, exchange, dispute, tension, conflict, and contestation. Presenting detailed empirical research into contemporary intra-regional and transcontinental mobilities across the hemisphere, The Borders of America scrutinizes an array of critical nodes in the larger configuration of the trans-American border regime.

Contributors. Soledad Álvarez Velasco, Tanya Basok, Janneth Clavijo, Nicholas De Genova, Gustavo Dias, Eduardo Domenech, Roberto Dufraix-Tapia, Jonathan Echeverri Zuluaga, Valentina Glockner Fagetti, Luin Goldring, Patricia Landolt, Carolina Moulin, Margarita Luz Núñez Chaim, Juan Ordóñez, Daniel Quinteros, Romina Ramos, Martha Rojas-Wiesner, Fabio Santos, Amarela Varela-Huerta, and Laura Velasco Ortiz