PRE-ORDER: ON SALE DATE: March 20, 2025

Decolonizing Bodies offers novel theorizations of how racial capitalism, colonialism, and heteropatriarchal violence erode the bodily schema and experiences of racialized and colonized populations, profoundly constraining their being in the world. The book invigorates embodiment studies by centering the experiences and struggles of Black, Indigenous, colonized, disabled, queer, and racialized subjects, showing how they live these displacements and disintegrations.

The volume powerfully demonstrates how racism and colonialism sediment in bodily and habitual registers that are active, ongoing, made and remade. Bodies, the contributors argue, powerfully register the impacts of colonial and racialized violence, but through practices of embodiment, they also digest, expel, and transform them. In centering non-normative subjective experiences and making space for different kinds of embodied knowledge, Decolonizing Bodies also takes a step toward decolonizing academic knowledge.

This exciting and urgent book offers readers new ways of imagining, choreographing and enacting the body. Beyond connecting distant geographies of harm, it celebrates polymorphous decolonial repertoires that record, creatively narrate, and heal.

A Palestinian Woman's dazzling exploration of heritage, gender and the idea of home.

I may not be brave enough, but somewhere deep inside of me there is, perhaps, the kernel of someone who is.

That brave someone was the legendary Nusayba bint Ka’ab al Khazrajia, who fought alongside the Prophet Muhammad at the dawn of Islam, the author N.S Nuseibeh’s ancestor. In drawing on Nusayba’s stories, Nuseibeh delves into the experience of being an Arab woman today and in the distant past—taking her from superheroes and the glorification of violence to the rise of Arab feminism, to what courage looks like in the context of interminable conflict. By seeking to understand her namesake in the context of her own twenty-first century concerns, Nuseibeh links our current ideas of Muslims and Arabs with their origins, exploring myth-making and identity, religion and nationhood, feminism and race.

As intimate as they are thoughtful, these linked essays offer a dazzling exploration of heritage, gender and the idea of home, while also showing how connecting with our history can help us understand ourselves and others today.

A rich and layered photographic exploration of the people and places that influenced Raven Jackson’s directorial debut film, Stories From a Place Where All Dirt Roads Taste of Salt, the companion book features lyrical writing, evocative photos, and contributions from voices that speak to the film’s quiet yet powerful themes and the rural Southern setting. Also includes the full script and incredible photography captured during the production. Includes a foreword by Kasi Lemmons; poetry by Alice Walker, Tracy K. Smith, Lucille Clifton, and Reginald Helms Jr.; essays and words by Sheila Atim, Kiese Laymon, Charleen McClure, Pamela Shepard, and many others; and an afterword by Marwa Helal.

‘I may pay rent to a friend for my place in Greensboro, but the South’s my landlord; and I’m trapped in its stomach trying to get to its brain. Here, I see butterflies with Confederate flag-grown wings and minstrel vestiges of Daddy Rice collecting dough. I can’t move because I’m stuck in Aunt Jemima’s syrup.’ Spell, Time, Practice, American, Body is the highly anticipated first book by artist, filmmaker, and writer RaMell Ross. Bringing together Ross’s large-format photographs, sculptures, conceptual works, and selected films, together with illuminating texts by Ross and a host of writers, this ambitious publication presents a chronicle of the American South that is both mysterious and quotidian, a historical document and a radical imagining of the future. The book opens with a series of illuminating colour photographs from Hale County, Alabama, Ross’s adoptive home and the setting of his Academy Award-nominated documentary Hale County This Morning, This Evening (2018). It then moves through a series of photographic and mixed-media works and writings that examine, deconstruct, and rewrite visual representations of the South. Amidst these works, at the book’s heart, is Ross’s film Return to Origin, a remarkable conceptual work in which Ross freight ships himself in a 4x8-foot box – a nod to Henry Brown who shipped himself to freedom in 1849. With Spell, Time, Practice, American, Body, Ross creates a new visual narrative of the South, freed from its iconic meanings to reveal the earth, dirt, soil, and land beneath. With texts by RaMell Ross, Tracy K. Smith, Richard McCabe, and Scott Matthews

With a foreword by Frank Ocean, Barry Jenkins’s and Tarell Alvin McCraney’s Academy Award–winning screenplay is accompanied by an essay by Hilton Als and acceptance speeches from Moonlight’s historic Oscars night.

PRE-ORDER. ON SALE: March 25, 2025

From celebrated broadcast journalist and talk show host of the Tamron Hall show, Tamron Hall, comes an endearing story about young Moses and his crew, inspired by her real-life son, as they go on an adventure around Harlem’s most iconic spots to deliver jars of honey for their neighbor and learn about the places and people that make Harlem home.

For Moses, Harlem couldn’t be any more different from the Texas he moved away from. He can’t hear the frogs and fireflies at night, and the only friends he has are his dog, Lotus-May and his bird, JoJo. But when his friendly neighbor Laila suggests that he help her deliver jars of honey to the neighborhood, he finally gets the chance to make new friends and see the magic that echoes throughout Harlem. And as he discovers storied landmarks along the way, the place begins to feel inviting and alive.

From Emmy Award–winning talk show host of the Tamron Hall show, Tamron Hall, comes a lively and heartening tale about one of the nation’s most iconic neighborhoods and the places and people that make a place feel like home.

How an eighteenth-century engraving of a slave ship became a cultural icon of Black resistance, identity, and remembrance

One of the most iconic images of slavery is a schematic wood engraving depicting the human cargo hold of a slave ship. First published by British abolitionists in 1788, it exposed this widespread commercial practice for what it really was―shocking, immoral, barbaric, unimaginable. Printed as handbills and broadsides, the image Cheryl Finley has termed the "slave ship icon" was easily reproduced, and by the end of the eighteenth century it was circulating by the tens of thousands around the Atlantic rim. Committed to Memory provides the first in-depth look at how this artifact of the fight against slavery became an enduring symbol of Black resistance, identity, and remembrance.

Finley traces how the slave ship icon became a powerful tool in the hands of British and American abolitionists, and how its radical potential was rediscovered in the twentieth century by Black artists, activists, writers, filmmakers, and curators. Finley offers provocative new insights into the works of Amiri Baraka, Romare Bearden, Betye Saar, and many others. She demonstrates how the icon was transformed into poetry, literature, visual art, sculpture, performance, and film―and became a medium through which diasporic Africans have reasserted their common identity and memorialized their ancestors.

Beautifully illustrated, Committed to Memory features works from around the world, taking readers from the United States and England to West Africa and the Caribbean. It shows how contemporary Black artists and their allies have used this iconic eighteenth-century engraving to reflect on the trauma of slavery and come to terms with its legacy.

Now back in print, The Vulture is the first novel by the legendary poet, musician, and so-called “godfather of rap” Gil Scott-Heron, written while he was still a university student.

First published in 1970 and digging the rhythms of the street, where the biggest deal life has to offer is getting high, The Vulture is a hip and fast-moving thriller, set in lower Manhattan. It relates the strange story of the murder of a teenage boy called John Lee—telling it in the words of four men who knew him when he was just another kid working after school, hanging out, waiting for something to happen. Just who did kill John Lee and why?

“It was one of those periods that you got through, as opposed to enjoyed. It wasn’t an environment that . . . was nurturing, so you shut it out. You just got through it. You just took it a day at a time. You excelled if you could. You did your best. You felt as though the eyes of the community were on you.”—Glenda Wilson, East Side Junior High

Much has been written about the historical desegregation of Little Rock Central High School by nine African American students in 1957. History has been silent, however, about the students who desegregated Little Rock’s five public junior high schools—East Side, Forest Heights, Pulaski Heights, Southwest, and West Side—in 1961 and 1962.

The First Twenty-Five gathers the personal stories of these students some fifty years later. They recall what it was like to break down long-standing racial barriers while in their early teens—a developmental stage that often brings emotional vulnerability. In their own words, these individuals share what they saw, heard, and felt as children on the front lines of the civil rights movement, providing insight about this important time in Little Rock, and how these often painful events from their childhoods affected the rest of their lives.

UpSet Press has restored to print Suheir Hammad's first book of poems, Born Palestinian, Born Black, originally published by Harlem River Press in 1996. The new edition is augmented with a new author's preface, and new poems, under the heading, The Gaza Suite, as well as a new publisher's note by Zohra Saed, an introduction by Marco Villalobos, and an afterword by Kazim Ali.

For numerous migrants who ventured westward in the twentieth century in search of greater opportunities, the glitter of California often proved to be mere fool’s gold—promising easy riches but frequently resulting in dispossession and displacement. Poet Wendy M. Thompson is descended from two of these migrant waves—post-1965 Chinese immigrants and Black southerners of the Second Great Migration—whose presence has permanently transformed the region.

In this arresting debut poetry collection, Thompson traces the past and present of California’s Bay Area, exploring themes of family, migration, girlhood, and identity against a backdrop of urban redevelopment, advanced gentrification, and the erasure of Black communities. Traveling down both familiar highways and obscure side streets, her poems map a region where race, class, and language are just some of the fault lines that divide communities and produce periodic tremors of violence and resistance.

Confronting assimilationist myths of the American Dream, Black California Gold depicts a setting that is less a melting pot than a smelting pot, subjecting different ethnic groups to searing trials and extreme pressures that threaten to break them down entirely. Yet, it also celebrates the Black residents of the Bay Area who have struggled to sustain home and hope amid increasingly desperate conditions.

A loving and powerful photobook following the lineage of one Black family, interrogating the semiotics of family portraiture

This profoundly moving and visually ravishing photobook, the first major monograph by American photographer Nydia Blas (born 1981), is an exploration of one Ithaca-based Black family and its community across many generations. The book is also a formally rigorous examination of the taxonomy and syntax of family portraiture.
Blas’ contemporary works are integrated with selections from her historical family albums in order to tell an extended intergenerational story, and to bring forward the evolving and recurring nature of the portrait photograph throughout the medium’s history. Deploying doubling, repetition and more subtle echoing and mirroring, Love, You Came from Greatness builds a powerful line of feeling and thought across generations and photographic tropes and styles. It features an illustrated discussion among Blas, curator Kate Addleman-Frankel and Cornell art historian Cheryl Finley. The volume concludes with the republication of bell hooks’ seminal 1995 essay "In Our Glory: Photography and Black Life," a deeply personal text that expands on crucial themes of family, photography, and Black identity and community.

Steve Cannon’s cult classic novel returns to print

Despite decades of notoriety as one of the “filthiest books in the world,” Steve Cannon’s first and only piece of longform fiction, Groove, Bang and Jive Around, has hardly been read since first being published in 1969. In the words of American poet Ishmael Reed, Cannon’s debut work inspired a generation by breaking with staid literary modernism. Its publication “signaled a resurfacing of the irreverent, underground trickster tradition of Black orature.” This erotic farce follows Annette, a teenage runaway, from the outhouse of a New Orleans juke joint to the psychedelic paradise of Oo-bla-dee―an idyllic country possibly founded by Dizzy Gillespie―by way of bacchanalian voodoo ritual. As Ophelia Press, its original publisher, wrote, Groove, Bang and Jive Around is an absolute necessity “for everyone who wants to know where and how the action takes place in Sex and Soul.”
Steve Cannon (1935–2019) moved to New York City in 1962 and joined the Umbra Workshop. He worked with and was a mentor to many artists and writers. In 1990 he founded the magazine and gallery A Gathering of the Tribes in New York City’s East Village.

A 50th-anniversary tribute to one of America’s first racially integrated exhibitions

In August 1971 Peter Bradley mounted the landmark exhibition The De Luxe Show at the legendary DeLUXE theater in Houston's Fifth Ward. The De Luxe Show was a milestone in civil rights history, as one of the first racially integrated shows in the United States. Curated by Bradley with the backing of collector and philanthropist John de Menil, the exhibition featured emerging and established abstract modern painters and sculptors of the time, including Darby Bannard, Peter Bradley, Anthony Caro, Dan Christensen, Ed Clark, Frank Davis, Sam Gilliam, Robert Gordon, Richard Hunt, Virginia Jaramillo, Daniel Johnson, Craig Kauffman, Alvin Loving, Kenneth Noland, Jules Olitski, Larry Poons, Michael Steiner, William T. Williams and James Wolfe.

In August 2021, for its 50th anniversary, Karma and Parker Gallery staged a contemporary bicoastal tribute to The De Luxe Show. The tribute honors the long, pioneering legacies of the artists of The De Luxe Show, and continues the dialogue between these innovators in the field of abstraction that began 50 years ago. This fully illustrated catalog includes texts and installation images from the original 1971 catalog, as well as a newly commissioned text by Amber Jamilla Musser and a text by Bridget R. Cooks that expands upon her 2013 essay in Gulf Coast.

PRE-ORDER: ON SALE DATE: May 6, 2025 

Combining representation and abstraction, Abney's vibrant works reference gender, sexuality and pop culture

Committed to sharing social realities through fantastic, expansive forms, Nina Chanel Abney is an artist possessed of an iconic style and wit. Through stylized, cubistic and highly charged painterly symbols, she references radical traditions of graphic design and street art to communicate urgent political and cultural realities with immediacy to the largest possible audience. Abney’s paintings and collages use dynamic color and form to draw viewers into complex narratives.
Big Butch Energy/Synergy features Abney’s recent exhibitions at ICA Miami and moCa Cleveland. In these works, Abney mines cinematic and media representations of student Greek life to explore how gender perception and performance is inspired by the legacies of social ritual and visual culture. The complex compositions reference scenes from popular slapstick comedy films such as National Lampoon’s Animal House (1978) and Porky’s (1981), while citing traditions of Baroque portraiture and fraternity composites. Inspired by her experience as a masculine-of-center woman, with this body of work Abney asks how viewers gender a figure in a work of art.
Nina Chanel Abney was born in 1982 in Harvey, Illinois, and is based in New York, where she attended Parsons School of Design. Abney’s work is held in the collections of the Whitney Museum of American Art, New York; the Museum of Modern Art, New York; the Brooklyn Museum, New York; the Bronx Museum, New York; the Nasher Museum of Art, North Carolina; and the Pennsylvania Academy of the Fine Arts, among others.

This book was published in conjunction with Institute of Contemporary Art, Miami/Museum of Contemporary Art Cleveland

"The Chicago-born artist Charles White (1918–79) was celebrated during his lifetime for depictions of African-American men, women and children that acquired the name “images of dignity. White’s draftsmanship, his direct address of the social and political concerns of his time, and his commitment to media that gave his art wide circulation established him as a major artist, and one with significant influence both on his contemporaries and on later generations.

Beginning with White’s early days as an artist in the Chicago of the 1930s and ’40s, moving through his time spent developing his craft in New York in the late 1940s and ’50s, and closing with his final decades as a revered figure in Los Angeles, Charles White: Black Pope explores the artist’s practice and strategies through consideration of key works. It devotes particularly close examination to his late masterwork "Black Pope (Sandwich Board Man)," in the collection of The Museum of Modern Art. By creating visually compelling, ideologically complex works that engage audiences on many levels, White established himself as a key figure of his time, one whose work continues to resonate today."

How American architecture can address systemic anti-Black racism: a creative challenge in 10 case studies

A New York Times critics' pick | Best Art Books 2021

Reconstructions: Architecture and Blackness in America is an urgent call for architects to accept the challenge of reconceiving and reconstructing our built environment rather than continue giving shape to buildings, infrastructure and urban plans that have, for generations, embodied and sustained anti-Black racism in the United States.

The architects, designers, artists and writers who were invited to contribute to this book―and to the exhibition at the Museum of Modern Art for which it serves as a “field guide”―reimagine the legacies of race-based dispossession in 10 American cities (Atlanta; Brooklyn, New York; Kinloch, Missouri; Los Angeles; Miami; Nashville; New Orleans; Oakland; Pittsburgh; and Syracuse) and celebrate the ways individuals and communities across the country have mobilized Black cultural spaces, forms and practices as sites of imagination, liberation, resistance, care and refusal.

A broad range of essays by the curators and prominent scholars from diverse fields, as well as a portfolio of new photographs by the artist David Hartt, complement this volume’s richly illustrated presentations of the architectural projects at the heart of MoMA’s groundbreaking exhibition.

Jordan Peele's celebrated screenplay combines horror and dark humor to reveal the terrifying realities of being Black in America

"Blending race-savvy satire with horror to especially potent effect, this bombshell social critique from first-time director Jordan Peele proves positively fearless."
–Peter Debruge, Variety

"An exhilaratingly smart and scary freak out about a black man in a white nightmare."
–Manohla Dargis, New York Times

"A major achievement, a work that deserves, in its own way, to be viewed alongside Barry Jenkins' Moonlight as a giant leap forward for the possibilities of black cinema; Get Out feels like it would have been impossible five minutes ago."
–Brandon Harris, New Yorker

A New York Times 2019 holiday gift guide pick

Jordan Peele's powerful thriller Get Out debuted in 2017 to enormous public and critical acclaim, a Guess Who's Coming to Dinner? for the age of Obama and Trump that scared audiences and skewered white liberal pieties at the same time. Rather than rely on popular archetypes, Peele weaves together the material realities and daily manifestations of horror with sociopolitical fears and elements of true suspense, and combines them with pitch-perfect satire and a timely cultural critique. This companion paperback to the film presents Peele's Oscar-winning screenplay alongside supplementary material.

Featuring an essay by author and scholar Tananarive Due and in-depth annotations by the director, this publication is richly illustrated with more than 150 stills from the motion picture and presents alternate endings, deleted scenes and an inside look at the concepts and behind-the-scenes production of the film. Continuing in the legacy of 1960s paperbacks that documented the era's most significant avant-garde films―such as Akira Kurosawa's Rashomon, Jean-Luc Godard's Masculin/Feminin and Michelangelo Antonioni's L'Avventura―Get Out is an indispensable guide to this pioneering and groundbreaking cinematic work.

Jordan Peele (born 1979) is an American writer, director and producer. Peele's directorial debut, Get Out (2017), earned him an Academy Award for Best Original Screenplay as well as nominations for Best Picture and Best Director. In 2012, Peele founded Monkeypaw Productions, which amplifies traditionally underrepresented voices and unpacks contemporary social issues, while cultivating artistic, thought-provoking projects across film, television and digital platforms, including Peele's follow-up to Get Out, the critically acclaimed horror epic, Us (2019).

A National Parenting Product Award (NAPPA) Winner

Yes, your baby can join in at family mealtimes―right from the start!

Gill Rapley and Tracey Murkett are the creators of baby-led weaning (BLW), a commonsense way to introduce your baby to solid foods. There’s no need to struggle with purées and spoon-feeding! Instead, Baby can explore the same foods you enjoy―how they feel, smell, and taste; how to grasp them and chew them―all at his or her own pace.

The Baby-Led Weaning Family Cookbook includes 99 all-new recipes, many suited for families of 4 or more. Plus, Rapley and Murkett review all the benefits of BLW:

* It’s convenient: The whole family eats the same meal―together. No one puts Baby in the corner!
* It helps Baby learn: BLW builds motor skills, coordination, and confidence.
* It promotes lifelong health: By teaching Baby to love a variety of foods and to gauge fullness, BLW helps prevent picky eating, and overeating, later on!

46 color photographs

The second book in a three-volume series on Black American artists, featuring work from the 1950s to the 1970s that responded to the cultural, political, and social concerns of the era

During the turbulent 1950s to 1970s, Black American artists, responding to increasing civil rights activism, challenged inequities in the art world. Artists created works that celebrated their racial identity, connected with Black audiences, and participated in the struggle for political, economic, and social equality. The establishment of artist collectives, such as Spiral, and museums devoted to Black art, including the Studio Museum in Harlem, alongside the emergence of art historians and critics such as David Driskell and Linda Goode Bryant, marked early steps to bring Black art into broader artistic discourse.
 
The book features 140 color illustrations of paintings, sculptures, and works on paper by such celebrated artists as Romare Bearden, Sam Gilliam, Jacob Lawrence, Norman Lewis, Howardena Pindell, and Alma Thomas, as well as by under-recognized artists. Essays provide an overview of the period and in-depth examinations of James A. Porter, an artist and art historian credited with establishing the field of African American art history, and Merton D. Simpson, an abstract painter, member of the Spiral group, and one of the most important dealers of African art in the United States.

Published in association with the Dixon Gallery and Gardens

Exhibition Schedule:

Dixon Gallery and Gardens, Memphis
(October 22, 2023–January 14, 2024)
 
Crocker Art Museum, Sacramento
(February 4–May 19, 2024)

Considered the foremost exponent of Afrofuturism, Sun Ra mastered a wide array of styles that spanned jazz, R&B, experimental, and chamber works. In his 45-year recording career, he issued an epic number of albums and was one of the first Black musicians to own an independent label, which he named Saturn, after the planet on which he claimed to have been born. The covers of Saturn LPs, issued from 1957 to 1988, are iconic―some rolled off commercial printing presses but many were hand-crafted and were sold at concerts, club dates, and by mail order. As collectibles, original handmade Saturn covers sell for hundreds, sometimes thousands, of dollars. More than just packaging for a slab of vinyl, they are works of art in their own right. Sun Ra: Art on Saturn is the first comprehensive collection of all Saturn printed covers, along with hundreds of the best hand-designed, one-of-a-kind sleeves and disc labels, decorated by Ra himself and members of his Arkestra. Essays by Ra preservationist Irwin Chusid, noted Ra scholar John Corbett, and Glenn Jones, who signed Ra to a distribution deal that put countless homemade covers into circulation, add insights into the interplanetary life and work of Sun Ra and his Saturn partner Alton Abraham.

From the duo behind the best-selling If I Had a Dinosaur comes this humorous and imaginative celebration of unicorns.

Have you ever given any thought to what the perfect magical pet would be? Giants are far too big, and dragons are way too hot, but what about a unicorn? It might eat all your ice cream for breakfast, but if you get upset about that, it will feed you cotton candy! It can sprinkle star dust on grumpy siblings, carry you to soccer practice on a rainbow, and make sure you dream nothing but sweet and fluffy unicorn dreams.

In this playful tale, a little girl finds out firsthand what it’s like to have a magical creature as a pet.

Illustrated in color throughout

From the duo behind the bestselling If I Had series, a humorous and entertaining tale celebrating octopuses.

Have you ever thought about what the best aquatic pet would be? It’s an octopus, of course! When a little girl fantasizes about having a crazy smart octopus pet, she pictures jumping rope with its tentacles, practicing different ball games simultaneously, and playing hide-and-seek with her camouflaging friend (just look out for the ink!).

With vibrant illustrations and playful rhymes, If I Had an Octopus is a laugh-out-loud story celebrating friendship between a child and her octopus. From the duo behind If I Had a Dinosaur, If I Had a Sleepy Sloth, and If I Had a Unicorn, Gabby Dawnay and Alex Barrow’s latest is a charming and imaginative tale about our favorite eight-armed creature.

Illustrated in color throughout

Perfect.Privileged.Strong.Spoiled.Uptight.Useless.If there’s any one thing Pierre and Logan have in common, it’s their ability to invite snap judgements based on shallow views of who they are.Logan is the privileged only daughter of a respected family whose legacy runs long and deep.Pierre is the moody, orphaned son of big screen royalty who couldn’t possibly live up to the prestige of his pedigree.Or maybe not.Perhaps they’re just two people trying to navigate the pressures of a world hellbent on telling them what they should be, and eschewing the limits of other people’s expectations. Maybe what they need most is somebody who can see beyond the shallow first impressions – just one person they can allow to see behind the scenes of who they are.Maybe they have more in common than it seems.

"Dutchman is designed to shock—its basic idea, its language and its murderous rage." —New York Times

Centered squarely on the Negro-white conflict, both Dutchman and The Slave are shocking plays—in ideas, in language, in honest anger. They illuminate as with a flash of lightning a deadly serious problem—and they bring an eloquent and exceptionally powerful voice to the American theatre.

Dutchman opened in New York City on March 24, 1964, to perhaps the most excited acclaim ever accorded an off-Broadway production and shortly thereafter received the Village Voice's Obie Award. The Slave, which was produced off-Broadway the following fall, continues to be the subject of heated critical controversy.

The broadest and most comprehensive collection of writings available by an early civil and women’s rights pioneer

Seventy-one years before Rosa Parks’s courageous act of resistance, police dragged a young black journalist named Ida B. Wells off a train for refusing to give up her seat. The experience shaped Wells’s career, and—when hate crimes touched her life personally—she mounted what was to become her life’s work: an anti-lynching crusade that captured international attention.

This volume covers the entire scope of Wells’s remarkable career, collecting her early writings, articles exposing the horrors of lynching, essays from her travels abroad, and her later journalism. The Light of Truth is both an invaluable resource for study and a testament to Wells’s long career as a civil rights activist.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Under the editorship of the late Robert Nemiroff, with a provocative and thoughtful introduction by preeminent African-American scholar Margaret B. Wilkerson and a commentary by Spike Lee, this completely restored screenplay is the accurate and authoritative edition of Lorraine Hansberry's script and a testament to her unparalled accomplishment as a Black artist.

The 1961 film version of A Raisin in the Sun, with a screenplay by the author, Lorraine Hansberry, won an award at the Cannes Film Festival even though one-third of the actual screenplay Hansberry had written had been cut out. The film did essentially bring Hansberry's extraordinary play to the screen, but it failed to fulfill her cinematic vision.

Now, with this landmark edition of Lorraine Hansberry's original script for the movie of A Raisin in the Sun that audiences never viewed, readers have at hand an epic, eloquent work capturing not only the life and dreams of a Black family, but the Chicago—and the society—that surround and shape them.

Important changes in dialogue and exterior shots, a stunning shift of focus to her male protagonist, and a dramatic rewriting of the final scene show us an artist who understood and used the cinematic medium to transform a stage play into a different art form—a profound and powerful film.

From the award-winning actor and playwright Anna Deavere Smith, two teeming, pungent cross-sections of the American experience.

In the provocative and at times bitterly funny play House Arrest, Smith examines the relationships between a succession of American presidents and their observers in and out of the press. Arcing from Clinton and Monica Lewinsky to Jefferson and Sally Hemings and alive with the voices of such real-life figures as Ed Bradley, George Stephanopoulos, Anita Hill, and Abraham Lincoln, the result is a priceless examination of the intersection of public power and private life.

In Piano, Smith casts her gaze back a century as she follows the tangled lines of race, sex, and exploitation in a prosperous Cuban household on the eve of the Spanish-American War. Deftly and suspensefully, Smith tells a story of ruptured allegiances and ramifying deceptions in which no one—master or servant, friend or enemy—is what he or she pretends to be. Together these two plays are further proof that Anna Deavere Smith is one of the most searing and revelatory voices in the American theater.

In this inspiring memoir—that Jane Fonda raves “will make you braver...want to live your life better and make a difference”—the award-winning playwright and bestselling author of What Looks Like Crazy on an Ordinary Day reminisces on the art of juggling marriage, motherhood, and politics while working to hone her craft as a writer.

Before she become one of America’s most popular playwrights and a bestselling author with a novel endorsed by Oprah’s Book Club, Pearl Cleage was a struggling writer going through personal and professional turmoil.

In Things I Should Have Told My Daughter, Cleage takes us back to the 1970s and 80s, when she was a young wife and mother trying to find her voice as a writer. Living in Atlanta, she worked alongside Maynard Jackson, the city’s first black mayor and it was here among fraught politics that she began to feel the pull of her own dreams—a pull that led her away from her husband as she grappled with ideas of feminism and self-fulfillment.

In the tradition of literary giants such as Joan Didion, Nora Ephron, and Maya Angelou, Cleage crafts an illuminating and moving self-portrait in which her “extraordinary experiences, deep social concerns, passionate self-analysis, and personal and artistic liberation, all so openly confided, make for a highly charged, redefining read” (Booklist).

The inspirational life of Kamala Harris for kids!

From the newly-announced Young People's Poet Laureate comes a powerful and inspiring picture book that shares how each milestone and moment in Kamala Harris's life represents something that lies within young readers' reach, too―building community, asking for answers, learning from elders, standing up for what's right, pride, friendship, strength, and most of all―knowing that nothing is out of the reach of their future!

Turn the traditional generational groupings on their head through this examination of Black life, culture, and the struggle for racial justice in the United States.

The Shaping of Black Identities explores the generations of African Americans who have lived in the twentieth and early twenty-first centuries and the impact that living in the United States has had on them. Jimmie R. Hawkins examines how identity is formed and shaped by internal and external forces. He investigates collective memory and the stories told to each succeeding generation about the lives of the preceding generations. But most of all, this book is about belonging.

Using the generational time frames established by the Pew Research Center, Hawkins proposes six new generational categories rooted in the Black experience: the New Negro, Motown, Black Power, Hip-Hop, #BlackLivesMatter, and Obama generations. He emphasizes the need for reexamination in distinguishing generational uniqueness with attention to disparate, nondominant groups. Given the history of racial and cultural discrimination against Blacks in the United States, such an examination of the ways in which Black life has taken its own unique shape among generations offers new ways to understand the transition in identity adopted by Blacks. Hawkins examines the historical contexts that shaped each generation and the general attitudes and perceptions of each generation as influenced by the cultural, political, and racial environment of the nation. Throughout, there is a unique focus on Black protest. With its attention to each generation of Blacks, The Shaping of Black Identities speaks to this active, liberative, and distinct historical attempt to define the self in the pivotal and ongoing search for meaning.

PROSE Award- Music and Performing Arts Category Winner

A framework for understanding the deep archive of Black performance in the digital era

In an era of Big Data and algorithms, our easy access to the archive of contemporary and historical Blackness is unprecedented. That iterations of Black visual art, such as Bert Williams’s 1916 silent film short “A Natural Born Gambler” or the performances of Josephine Baker from the 1920s, are merely a quick YouTube search away has transformed how scholars teach and research Black performance.

While Black Ephemera celebrates this new access, it also questions the crisis and the challenge of the Black musical archive in a moment when Black American culture has become a global export. Using music and sound as its primary texts, Black Ephemera argues that the cultural DNA of Black America has become obscured in the transformation from analog to digital. Through a cross-reading of the relationship between the digital era and culture produced in the pre-digital era, Neal argues that Black music has itself been reduced to ephemera, at best, and at worst to the background sounds of the continued exploitation and commodification of Black culture. The crisis and challenges of Black archives are not simply questions of knowledge, but of how knowledge moves and manifests itself within Blackness that is obscure, ephemeral, fugitive, precarious, fluid, and increasingly digital.

Black Ephemera is a reminder that for every great leap forward there is a necessary return to the archive. Through this work, Neal offers a new framework for thinking about Black culture in the digital world.