From the award-winning author/illustrator of GENDER QUEER and a bright new talent, the story of a kid named Saachi, who is navigating friendship woes, sister issues, a new crush, and a resistance to blue-and-pink binaries.

Bodies are the worst. I wish I didn't have a body.

Saachi is a storyteller. At school, she's surrounded by kids she's known forever -- including her best friend, Lyla, who shares Saachi's love of fantasy novels and creating new worlds.

But as seventh grade starts, kids are changing. Suddenly, it matters who you like and if you can find a boyfriend or girlfriend. Even Lyla seems more interested in hanging out with her new boyfriend than in writing and drawing with Saachi anymore. Saachi's not interested in any of that boy/girl stuff. Why can't things just stay the way they were?

Saachi also doesn't love all the ways her body is changing. What if she doesn't feel like a girl -- or like a boy, either? In a world where there is so much either/or, Saachi is going to need to find her own options . . . and create her own story.

In this bold anthem, feminist organizer and bestselling author Gloria Steinem and Nobel Peace Prize winner Leymah Gbowee share their parallel journeys as activists.

We, sister-friends, working our way toward equality's front door. We, taking separate journeys, but walking in the same direction.

We ―― for peace. We ―― for love. We ―― for bravery.

Gloria Steinem and Leymah Gbowee's dual paths have inspired a friendship empowered by the principles of equality, progress, and hope for a new generation. Here, two friends come together to tell one uplifting story of girls and women strengthening one another and changing the world.

Award-winning author Suyi Davies Okungbowa returns in the final installment of the Nameless Republic trilogy with a tale of villains, allies, and a world on the brink of destruction, perfect for fans of Tasha Suri, Evan Winter, and James Islington.
 
The old world has fallen. Now is the time of serpents.
 
The continent is split. The islands have sunk. The empire of Bassa is no more. With the resistant Nameless Republic and the conquering Kangalaland on the brink of war, all must choose a side: ally, or fall. Oon’s heroes and villains must rise from their ashes and meet a Third Great War.

Peace won’t come easy. Long-lost family will fight to reach Danso before war erases him forever. Lilong has survived the island catastrophe but lost her power, and will do anything to get it back. And fate will find Esheme where it left her—will the dead queen rise again?

For Oon, the first season of the five states is a season of serpents. After the storms pass and winds blow, what will remain? And who will survive?

Praise for The Nameless Republic:

"A thrilling, fantastical adventure that introduces a beguiling new world . . . and then rips apart everything you think you know."—S. A. Chakraborty

"An original and fascinating epic fantasy full of bold characters, bloody action, and brutal politics.”―James Islington

The Nameless Republic
Son of the Storm
Warrior of the Wind
Season of the Serpent

A long-overdue corrective to the history of rock ‘n’ roll and alternative music, repopulating it with the extraordinary Black artists and influential figures who steered its course, from an author, journalist, and front woman of the British post punk band Big Joanie.

The history of rock and roll and alternative music is often told in bold, sweeping, isolated moments that are removed from the context of their time. Upon closer inspection, however, it becomes clear that the stories we tell center primarily on the achievements of white men like Elvis Presley, The Ramones, Nirvana, and David Bowie. White men who were the stars, white men who supposedly changed the game, white men who seemingly were at the forefront of every musical innovation in the 20th and 21st centuries. These rock and roll retellings perpetuate the belief that white men were the most important people to wield a guitar, strut on stage, or pound out a pummeling drumbeat. What is missing in these stories is everything in between—the people, the places, and the scenes that connect the dots—and you can’t tell the history of any music scene, let alone alternative music, without the Black community.

From the genre's earliest moments, Black musicians—like gospel entertainer Sister Rosetta Tharpe in the 1930s-40s and rock and roll legend Chuck Berry in the 1950s—have consistently pushed musical boundaries that forever impacted the music that followed. Throughout the decades, numerous Black entertainers continued to add their take on rock and alternative genres, expanding and building on what was already there to create what we know as alternative music today: look no further than the electric fire of Jimi Hendrix’s guitar licks in the '60s, the kaleidoscopic melee of hardcore and reggae that was Bad Brains in the late '70s, and the funkadelic swagger of Living Colour in the '80s.

Despite their groundbreaking contributions, why have Black musicians been so neglected from the historical canon? Is alternative music still seen as a white genre, and how are Black musicians and fans making space for themselves in the music scenes they love? We Were Here tells the story of Black artists performing in alternative genres from punk to rock and roll, indie to new wave, alongside their Black fans. Through brand new interviews and meticulous research, Phillips documents the history of Black people’s influence on these genres, highlighting the key players, assessing the legacy of their work, and drawing attention to those who have been obscured from history.

Where rock magazines and music books previously omitted or misunderstood the stories of Black artists and fans, this book centers their voices and attempts to right the wrongs of the past. Along the way, Phillips infuses her own coming-of-age story as a Black female musician in the punk scene, alongside a cultural analysis of rock and alternative music history.

The inspiring memoir of a brilliant young man who, sentenced to life in prison, refused to surrender his future—a story so powerful that it transformed even the judge who handed down the sentence.
 
If our world were more just, Chris Young would have been crossing a stage at college graduation at the age of 22. Instead, he was marched into a maximum-security federal prison, facing life under mandatory drug sentencing laws. Like far too many young Black men from his neighborhood in Clarksville, Tennessee, this was where his story was supposed to end.
 
But one day in the prison library, a book caught his eye: an encyclopedia. As he began to turn the pages, Chris felt himself transported. Knowledge became a portal. He began to confront the nihilism around him, the trauma of his past, and the cruelty of a system determined to confine him. From the library, his cell, and even solitary confinement, Chris built an education from scratch, studying philosophy, art, anthropology, history, physics, and politics. He learned to analyze the stock market and taught himself how to code without a computer. He trained his mind—and refused to let prison dictate the limits of his imagination. At his sentencing hearing, Chris gave such a moving speech that the judge resigned from his lifetime appointment to the bench and fought to free him.
 
Started in solitary confinement and finished beyond bars, The Wound Is Where the Light Enters is a powerful meditation on choice, consequence, and human potential, told through the story of a man who was never given a chance—and who fought until, at last, he was.

For fans of The Body Keeps Score and How to Do the Work, trauma therapist Simone Saunders bridges the gap where talk therapy falls short—showing you how to move beyond self-awareness and reconnect with the sensations, signals and emotions your body has been shaped by, breaking cycles of emotional disconnection once and for all.

Many of us assume that once we understand why we feel the way we do, things will finally change. Traditional talk therapy often equips us with the language and self-awareness we’ve been missing — yet so many of us find ourselves stuck. We can recognize the trigger, name the pattern, and explain the story, yet still feel unable to create tangible change in our day-to-day lives. So, where’s the disconnect? What’s missing?

Registered social worker and trauma therapist Simone Saunders believes the answer lies in crossing the threshold from the mind into the body—moving from self-awareness into a felt, embodied understanding. In Where Do You Feel That in Your Body, Simone guides you through a gentle and practical approach to noticing what emotions feel like in your body, understanding the protective patterns shaped by identity and past experiences, and recognizing how your nervous system responds to stress and disconnection. You’ll learn how to read your body’s signals with curiosity, and how to build the capacity to stay present with your emotions instead of disconnecting from them.

In recent years, the language of the body—posture, facial expressions, movements, and sensations—has become more widely recognized for the integral role it plays in shaping and maintaining our survival patterns. Where Do You Feel That in Your Body shows you how to build a steady, supportive relationship with your nervous system that grows and shifts over time. You’ll understand how your body and mind communicate, how identity and culture shape your emotional responses, and how to gently shift the patterns that once helped you survive.

Welcome to the the Super Bowl of sports history books, the G.O.A.T. of the storytelling shelf, the most entertaining football book you'll ever read, from New York Times bestselling author and Newbery Honor winner Derrick D. Barnes.  

Football rules America. It’s the favorite child (like you), it’s the teacher’s pet, it’s the grandkid that Granny bakes all of the cakes, cookies, and pies for. But while you might know all the latest, do you know the GREATEST? The players, coaches, change agents, and all-out legends who made the National Football League what it is today? We're talking about Tom Brady—the sixth-round quarterback, passed up by every team in the league, who ended up becoming the G.O.A.T. Joe Horn, who hid a cell phone in the goalpost and used it after he scored a touchdown—because he was that confident he could get to the end zone. Jim Thorpe, Peyton Manning, Orlando Jones, Mel Blount They're all here for you to discover.   

If you consider yourself a football fan, get ready for the names, games, stats, records, and far-out facts that you couldn’t possibly get anywhere else. Have you ever heard of Fritz Pollard or Anthony Muñoz? Did you know that one of the greatest defensive backs of all time is part of the reason the passing game expanded in the NFL? And can you believe that the biggest comeback in NFL history was led by a backup quarterback? By the time you’re finished with this book, you’ll have an advanced degree in football facts. So get ready to flip through the pages, take meticulous notes, and highlight those amazing stories and hard-to-believe facts that will make your buddies crown you a football genius ... because you are. Game time, baby!

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.

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.

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.

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.

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.

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.

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.

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.

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.

The inaugural issue of the movement-focused and future-forward Abolition Journal quarterly after it was relaunched by the Philadelphia-based Abolition School.

This pilot issue of the revived Abolition Journal is produced by the Philadelphia-based W.E.B. Du Bois Movement School for Abolition & Reconstruction. It brings together two dozen urgent and timely interventions in political debates around abolition and aims to show how this abstract idea manifests itself in our daily lives.

These interventions, authored by a diverse cast of contributors, including academics and attorneys, so-called felons and physicians, artists and educators, and parents, playwrights and poets, explore the everyday experiences that come with trying to live out an abolitionist politics. In the words of the editors, these experiences include “the daily victories and errands, reflections and runarounds, gestures and drama, habits and heartbreaks, setbacks and surrenders, excuses and evasions, breakdowns and breakthroughs.”

The issue curates a variety of content, including political essays, short stories, poetry, interviews, and speeches, each resonating and reflecting in their own unique way on the central theme “Everyday Sh!t.” They offer thoughts and reflections on structure, practice, care, and direction to deepen existing movement knowledge and invite new audiences to see themselves mirrored within this work.
Without exception, these are stories of sincere experience mixed with radical poetic visions culled from the issue contributors’ plurality of pasts, presents, and prefigurative futures. Grounded in Philadelphia, yet looking out onto the whole wide world, Abolition Journal aims to reflect the lived complexity that can be messy and self-defeating, but equally authentic and inspiring.

A profound and poetic memoir, tracing the wounds that racism and colonialism have left on Black people across borders. 

With astute insight and immersive prose, Bonhomme outlines a personal and political history of life in the United States, Haiti, and Germany, discovering what it means to be Black at home and abroad. She unlearns the lies that she was told about slavery and colonialism and explores how communities are resisting the weight of centuries of history.

Whether examining debt, medical racism, art, or reparations, Tending to Our Wounds cuts a breathtaking course between the past and the present, the individual and the collective―identifying the tendrils of history in the everyday and outlining a path to real freedom.

RING SHOUT SATURN  is book two of the the three book The Root and Sky Series of short stories.

Sheree Renée Thomas’s electrifying collection transports readers on a cosmic journey where ancient African Diasporic wisdom meets expansive Afrofuturist visions. From a prophet building a starship from salvaged dreams on a Martian farm to children breaking generational curses through powerful moonsongs, these tales explore themes of transformation, survival, and the enduring quest for liberation. Alien sisters navigate human complexities and river spirits offer profound wisdom, all set to an ancient beat that transcends time and space. Pulsing with Hoodoo, music, and myth, this collection resonates with the profound rhythms of existence, proving that true freedom knows no bounds—not even the cold void of space.

A brilliant new collection by the great Caribbean writers and scholar: “an engaging, deep-hearted, strong-spirited, and richly musical poet” (The Multicultural Review)

Equinox is an unforgettable and never-before-published masterwork completed by Kamau Brathwaite before his death in 2020. Written in his unique Sycorax typeface and replete with compelling images and photographs, Equinox contains poems written in Brathwaite’s singular Barbadian vernacular and visionary style―poems about the Middle Passage, the natural world, Billie Holiday, Whitney Houston, the Kumina dance in Jamaica, Nelson and Winnie Mandela, the Fukushima nuclear disaster in Japan, and Breughel’s painting “Landscape with the Fall of Icarus,” among many tidalectic topics. The lyrical poems in Equinox weave together history and culture with the imagery of Brathwaite’s native Barbados, weaving a lush tapestry of injustice, redemption, and hope.

A major landmark of 20th-century Caribbean poetry. “Those who lament that the Age of Giants is over have evidently never read Kamau Brathwaite” (Eliot Weinberger)

Here, in a single volume, is Kamau Brathwaite’s early groundbreaking trilogy The Arrivants―containing Rights of Passage (1967), Masks (1968), and Islands (1969)―a brilliant and visionary exploration of the predicament of the poet living in the New World. Through the tension of regional dialect, musical rhythms, historical flashbacks, and excursions to Europe, New York, and Africa, Brathwaite interweaves the past and present of his Caribbean homeland―its natural beauty, its violent history, and the values that sustain its people―into a vigorous and unforgettable poetic work.

Douglass’s letters from the 1880s reveal both his unrelenting efforts to protect African American rights and little-known details about his personal life
 
The fourth volume of the Correspondence Series presents Frederick Douglass as a still-influential public figure but also as a man aware that the gains African Americans made during the Civil War and Reconstruction were not as well secured as he had hoped.
 
For this volume, the editors selected 247 of the 914 known letters sent to or from Douglass between 1881 and 1888. An active partisan, Douglass corresponded regularly with Republican party leaders from the local to national level about campaign tactics and strategies. Douglass also often received letters from African Americans who detailed the deteriorating state of race relations across the South in the 1880s. Douglass used his correspondence to advance the political stature of Republicans he regarded as most sympathetic to protecting African American rights.
 
Douglass wrote about his taste in reading; his fondness for carriage riding; his feuds with family members and neighbors; his first wife, Anna Murray; and his remarriage, to Helen Pitts, and the controversy that the interracial marriage generated. Douglass’s correspondence details the seven-month honeymoon the couple took in Europe and Egypt, the reunion with old abolitionist friends in Great Britain, and candid appraisals of places he visited and people he met overseas.

From the award-winning author of Fiebre Tropical, an electric, highly anticipated novel set in Colombia’s underground queer scene.

Isolated in a dreary Bogotá apartment, Ignacio’s light has dimmed, leaving his teenage daughter Valentina to raise herself in the wake of her mother’s death. Valentina longs to discover the details of her mother’s drowning and for Ignacio to snap out of his depression―his listless afternoons spent smoking cigarettes in long blonde wigs, telenovelas humming in the background, haunted by memories of the young man he loved and betrayed.

From Ignacio’s dark past emerges the luminous Mamadora Eléctrica, the wise travesti who introduced Ignacio to the city’s queer scene years prior. Stepping into a maternal role for Valentina, Mamadora fears the worst: that Ignacio’s self-loathing may have unleashed a curse on them all. A profound and irreverent story about coming undone, Pretend You’re Dead and I Carry You affirms Julián Delgado Lopera as a brilliant and singular voice―“a writer who is grinding their own colors” (Dwight Garner, The New York Times).

A selection of the exquisite, passionate verse of the Palestinian poet Najwan Darwish, superbly translated into English

Finalist for the 2025 PEN Award for Poetry in Translation • Finalist for the 2025 Derek Walcott Prize for Poetry • Winner of the 2024 Big Other Readers’ Choice Award • Shortlisted for the 2025 PEN Heaney Prize • Longlisted for the 2025 National Translation Award for Poetry, sponsored by American Literary Translators Association

“An unvarnished view of war and its repercussions: fear, dread, devastation, and exile.”―Elisabeth Egan, New York Times Book Review
 
Born in Jerusalem in 1978, Najwan Darwish is one of the most important poets of the Arabic-speaking world. This definitive collection, which draws from five volumes published in Arabic as well as new unpublished work, brings to English-language readers a sweeping trove of Darwish’s most powerful and urgent poetry of the last decade.
 
In spare lyric verse, Darwish testifies to the brutal and intimate traumas of war, the anguished fatigue of waking up each morning in an occupied land, and the immeasurable toll of the Israeli-Palestinian conflict. While anchored in the geography of Palestine, his poetry also explores the rich artistic inheritance of the Arabic-speaking world, moving between regions, landscapes, and eras, from the glories of medieval Granada to the rippling shores of contemporary Haifa. In dialogue with poets, philosophers, and seekers from many different traditions, Darwish’s verse pulses with spiritual longing and a sense of battered, disoriented wonder―a witness to both the atrocities we visit upon one another and the miracle that we are here at all.
 
No One Will Know You Tomorrow is a tribute to the indomitability of the human spirit: its sensitive attunement to beauty and its endurance in the face of unspeakable tragedy.

Longlisted for the 2026 Aspen Words Literary Prize
One of the New York Times Book Review’s 10 Best Historical Fiction Books of the Year
A Library Journal Best Book of the Year
A BookBrowse Best Book of the Year

“Searing.… [G]ripping.… Impressive[ly] guides us through her characters’ emotional depths.” ―Alida Becker, New York Times Book Review

Three people―two enslaved, one indentured―living beside each other, struggling against their circumstances, trying to bend destiny.

As the seventeenth century burns to a close in Tidewater, Virginia, America’s character is wrought in the fires of wealth, race, and freedom.

Young Bless, the only child left to her enslaved mother, stubbornly crafts the terms of her vital existence. She stands as the lone bulwark between her mother and irreparable despair, her mother’s only possibility of hope, as Bless reshapes the boundaries of love.

David is a helping child and a solace to his parents, and he gave a purpose to their trials. His survival hinges on his mother’s shrewd intellect and ferocious fight, but his sustenance is his freed Black father’s dream of emancipation for the entire family.

Jack Dane, a Scots-Irish boy, sails to Britain’s colonies when his father sells him into indentured servitude as an escape from poverty. There Jack learns from the rich the value of each person’s life.

A breathtaking, haunting, and epic saga, This Here Is Love intimately intertwines us with these beautifully drawn, unforgettable American characters. Bless, taken to serve the slaveowner’s daughter, must decide where she belongs: with the enslaved or above them. David, sold away from his people, retreats into himself even as he yearns to unite with others. Jack, acting impetuously, changes his fortune, but will doing so sacrifice his humanity?

All three come together on Jack’s land. As they face and challenge each other, they will relinquish and remake beliefs about family and freedom, even as they confront the limits of love.

“Mahalia Jackson was the greatest gospel singer of her time and an overlooked leader in the Civil Rights Movement. Her voice seemed born of heaven.” ?Henry Louis Gates Jr.

If Americans today still recognize the name Mahalia Jackson, they might recall that she was perhaps the greatest gospel singer who ever lived. But for many people, there is no awareness at all, not even for an entertainer whose “Move On Up a Little Higher” sold eight million copies, who headlined two Newport Jazz Festivals and performed before four United States presidents.

While this rich musical legacy is admired by those in the know, virtually no one recognizes Jackson’s astonishing role in American civil rights history. In this startling new depiction of the renowned gospel singer, New York Times best-selling author Timothy B. Tyson and Mary D. Williams, an acclaimed gospel singer herself, bring Jackson back to soaring life by positioning her as the major civil rights figure she, in fact, was.

Mahlia Jackson, Moving On Up a Little Higher then traces Jackson’s career from abject poverty in New Orleans to global superstardom, revealing how even after meteoric success, Jackson maintained an unwavering devotion to Black freedom. In the 1930s in Chicago, even before the Civil Rights Movement took its modern shape, she used her rapturous voice to support independent Black political power. Her work only intensified in the 1940s and beyond when she campaigned first for Franklin D. Roosevelt, and later for Harry Truman, John F. Kennedy, and Lyndon B. Johnson; headlined in Montgomery for the 1955–56 bus boycott; sang for the Birmingham campaign and on the Selma March; and performed at the iconic 1963 March on Washington, where she urged Martin Luther King Jr. to “Tell ’em about the dream.” In retrospect what becomes historically significant is that Mahalia Jackson was present at so many civil rights events, even singing a divine rendition of “Precious Lord, Take My Hand,” at Dr. King’s funeral in 1968. Weakened and worn, she succumbed to heart failure four years later at the age of sixty.

Weaving together Mahalia Jackson’s inspiring life journey with her soulful music into a transcendent text, this biography ultimately casts Mahalia Jackson as we’ve never seen her before, as a guiding light for the Civil Rights Movement, whose message still speaks to our struggles today.

5 illustrations