From James McBride, author of the bestselling Oprah’s Book Club pick Deacon King Kong and the National Book Award–winning The Good Lord Bird, a novel about small-town secrets and the people who keep them

In 1972, when workers in Pottstown, Pennsylvania, were digging the foundations for a new development, the last thing they expected to find was a skeleton at the bottom of a well. Who the skeleton was and how it got there were two of the long-held secrets kept by the residents of Chicken Hill, the dilapidated neighborhood where immigrant Jews and African Americans lived side by side and shared ambitions and sorrows. Chicken Hill was where Moshe and Chona Ludlow lived when Moshe integrated his theater and where Chona ran the Heaven & Earth Grocery Store. When the state came looking for a deaf boy to institutionalize him, it was Chona and Nate Timblin, the Black janitor at Moshe’s theater and the unofficial leader of the Black community on Chicken Hill, who worked together to keep the boy safe.

    As these characters’ stories overlap and deepen, it becomes clear how much the people who live on the margins of white, Christian America struggle and what they must do to survive. When the truth is finally revealed about what happened on Chicken Hill and the part the town’s white establishment played in it, McBride shows us that even in dark times, it is love and community—heaven and earth—that sustain us.

    Bringing his masterly storytelling skills and his deep faith in humanity to The Heaven & Earth Grocery Store, James McBride has written a novel as compassionate as Deacon King Kong and as inventive as The Good Lord Bird.

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When Sam is stuck sharing the streets for Chicago’s summer festivals with a man she can’t stand, she’ll find it’s often a bumpy road that leads to love….

As office manager of the city’s leading luxury boudoir and pinup photography studio, lovable grump Samantha Sawyer has everything under control. With an eventful summer season on the horizon, Sam is balancing an insane workload while preparing the Buxom Boudoir “Photobus,” a vintage coach bus converted into a mobile photobooth and meeting space, to make the rounds at Chicago’s bustling summer street festival roster. Sam’s busy schedule makes avoiding the difficult parts of her life much easier, but there’s one person who can see right through her to-do lists and icy façade, really see her…and Sam hates him for it.

A lot has changed in the last year for Russell Montgomery. Years of odd jobs and couch surfing around the country had left him scrambling, but after reconnecting with his brother, Reid (and coming as close to settling down as he’s ever been), Russ now works at a hot local restaurant. Russ has been welcomed into his newly engaged brother’s circle of friends—all except a close friend and coworker of Reid’s fiancée, an intriguingly stormy woman named Sam.

Luckily, Sam is certain that the insanity of her calendar will ensure their distance, and she won’t have to deal with Russ or his irritating, handsome smile. But when Russ is charged with the launch of a restaurant food truck for the festival circuit, the sizzling Chicago heat is no match for the fire between them….

Blackdom, New Mexico, was a township that lasted aboutthirty years. In this book, Timothy E. Nelson situates the township’s storywhere it belongs: along the continuum of settlement in Mexico’s Northern Frontier.Dr. Nelson illuminates the set of conscious efforts that helped Black pioneersdevelop Blackdom Township into a frontier boomtown.

“Blackdom” started as an inherited idea of a nineteenth-centuryAfrotopia. The idea of creating a Blackdom was refined within Blackinstitutions as part of the perpetual movement of Black Colonization. In 1903,thirteen Black men, encouraged by the 1896 Plessy decision, formed the BlackdomTownsite Company and set out to make Blackdom a real place in New Mexico, wherethey were outside the reach of Jim Crow laws.

Many believed that Blackdom was simply abandoned. However,new evidence shows that the scheme to build generational wealth continued toexist throughout the twentieth century in other forms. During Blackdom’s boomtimes,in December 1919, Blackdom Oil Company shifted town business from aregenerative agricultural community to a more extractive model. Nelson hasuncovered new primary source materials that suggest for Blackdom a newlydiscovered third decade. This story has never been fully told or contextualizeduntil now.

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Deana Lawson is one of the most powerful photographers of her generation. Her subject is black expressive culture and her canvas is the African Diaspora. Over the last ten years, she has created a visionary language to describe black identities, through intimate portraiture and striking accounts of ceremonies and rituals.Deana Lawson: An Aperture Monograph features forty beautifully reproduced photographs, an essay by the acclaimed writer Zadie Smith, and an extensive interview with the filmmaker Arthur Jafa.

Deana Lawson is one of the most intriguing photographers of her generation. Over the last ten years, she has created a visionary language to describe identities through intimate portraiture and striking accounts of ceremonies and rituals. Using medium- and large-format cameras, Lawson works with models she meets in the United States and on travels in the Caribbean and Africa to construct arresting, highly structured, and deliberately theatrical scenes animated by an exquisite range of color and attention to surprising details: bedding and furniture in domestic interiors or lush plants in Edenic gardens. The body—often nude—is central. Throughout her work, which invites comparison to the photography of Diane Arbus, Jeff Wall, and Carrie Mae Weems, Lawson seeks to portray the personal and the powerful in black life. Deana Lawson: An Aperture Monograph features forty beautifully reproduced photographs, an essay by the acclaimed writer Zadie Smith, and an expansive conversation with the filmmaker Arthur Jafa.

Forgotten Readers expands our definition of literacy and urges us to think of literature as broadly as it was conceived of in the nineteenth century. Elizabeth McHenry delves into archival sources, including the records of past literary societies and the unpublished writings of their members. She examines particular literary associations, including the Saturday Nighters of Washington, D.C., whose members included Jean Toomer and Georgia Douglas Johnson. She shows how black literary societies developed, their relationship to the black press, and the ways that African American women's clubs--which flourished during the 1890s--encouraged literary activity. In an epilogue, McHenry connects this rich tradition of African American interest in books, reading, and literary conversation to contemporary literary phenomena such as Oprah Winfrey's book club.

Johnson looks at various sites of performed blackness, including Marlon Riggs’s influential documentary Black Is . . . Black Ain’t and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother’s experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances—ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community—Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness.

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In A Quitter’s Paradise, the darkly humorous debut by bold, new voice Elysha Chang, a young woman does everything she can to ignore her mother’s death, even as unearthed family secrets become increasingly inextricable from her own.

Eleanor is doing just fine. Yes, she’s keeping secrets from her husband. Sure, she quit her PhD program and is now conducting unauthorized research on illegitimately procured mice. And, true, her mother is dead, and Eleanor has yet to go through her things. But what else is she supposed to do? What shape can grief take when you didn’t understand the person you’ve lost?

Resisting at every turn, Eleanor tumbles blindly down a path toward confronting her present. As Eleanor’s avoidance of her feelings results in a series of outrageous—often hilarious—choices, her actions begin to threaten all she holds most dear. Meanwhile, glimpses of Eleanor’s childhood and family history in Taiwan unfurl, revealing long-held secrets, and Eleanor starts to realize that she will never be able to escape her grief, or her family, despite her wildest attempts. But will she be brave enough to withstand the reckoning she’s hurtling toward?

At once disarmingly provocative and compulsively readable, A Quitter’s Paradise is an unexpectedly funny study of the beauty and contradictions of grief, family bonds, and self-knowledge, exploring the ways we unwittingly guard the secrets of our loved ones, even from ourselves.

Award-winning, New York Times bestselling author S. A. Cosby’s debut novel, republished in a new edition, with a new introduction from the author.

“I handle the bodies.”

Whether it's working at his cousin's funeral home or tossing around the local riffraff at his favorite bar, Nathan Waymaker is a man who knows how to handle the bodies. A former marine and sheriff's deputy, Nathan has built a reputation in his small Southern town as a man who can help when all other avenues have been exhausted. When a beloved local minister is found dead, his parishioners ask Nathan to make sure the death isn’t swept under the rug.

What starts out as an easy payday soon descends into a maze of mayhem filled with wannabe gangsters, vicious crime lords, porn stars, crooked police officers, and a particularly treacherous preacher and his mysterious wife. Nathan must use all his varied skills and some of his wit to navigate the murky waters of small town corruption even as dark secrets of his own threaten to come to the surface.

The USA Today bestselling author of The Worst Best Man is back with another hilarious #ownvoices rom-com about two strangers who get trapped in a lie and have to fake date their way out of it… 

Just weeks away from ditching DC for greener pastures, Solange Perreira is roped into helping her wedding planner cousin on a random couple’s big day. It’s an easy gig... until she stumbles upon a situation that convinces her the pair isn’t meant to be. What’s a true-blue romantic to do? Crash the wedding, of course. And ensure the unsuspecting groom doesn’t make the biggest mistake of his life.

Dean Chapman had his future all mapped out. He was about to check off “start a family” and was on track to “make partner” when his modern-day marriage of convenience went up in smoke. Then he learns he might not land an assignment that could be his ticket to a promotion unless he has a significant other and, in a moment of panic, Dean claims to be in love with the woman who crashed his wedding. Oops.

Now Dean has a whole new item on his to-do list: beg Solange to be his pretend girlfriend. Solange feels a tiny bit bad about ruining Dean’s wedding, so she agrees to play along. Yet as they fake-date their way around town, what started as a performance for Dean’s colleagues turns into a connection that neither he nor Solange can deny. Their entire romance is a sham... there’s no way these polar opposites could fall in love for real, right? 

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A brilliant literary memoir of chosen family and chosen heritage, told against the backdrop of Chicago’s North and South Sides

As a multiracial household in Chicago’s North Side community of Rogers Park, race is at the core of Francesca T. Royster and her family's world, influencing everyday acts of parenting and the conception of what family truly means. Like Maggie Nelson’s The Argonauts, this lyrical and affecting memoir focuses on a unit of three: the author; her wife Annie, who's white; and Cecilia, the Black daughter they adopt as a couple in their forties and fifties. Choosing Family chronicles this journey to motherhood while examining the messiness and complexity of adoption and parenthood from a Black, queer, and feminist perspective. Royster also explores her memories of the matriarchs of her childhood and the homes these women created in Chicago’s South Side—itself a dynamic character in the memoir—where “family” was fluid, inclusive, and not necessarily defined by marriage or other socially recognized contracts.

Calling upon the work of some of her favorite queer thinkers, including José Esteban Muñoz and Audre Lorde, Royster interweaves her experiences and memories with queer and gender theory to argue that many Black families, certainly her own, have historically had a “queer” attitude toward family: configurations that sit outside the white normative experience and are the richer for their flexibility and generosity of spirit. A powerful, genre-bending memoir of family, identity, and acceptance, Choosing Family, ultimately, is about joy—about claiming the joy that society did not intend to assign to you, or to those like you.

Transportation planners, engineers, and policymakers in the US face the monumental task of righting the wrongs of their predecessors while charting the course for the next generation. This task requires empathy while pushing against forces in the industry that are resistant to change. How do you change a system that was never designed to be equitable? How do you change a system that continues to divide communities and cede to the automobile?

In Inclusive Transportation: A Manifesto for Repairing Divided Communities, transportation expert Veronica O. Davis shines a light on the inequitable and often destructive practice of transportation planning and engineering. She calls for new thinking and more diverse leadership to create transportation networks that connect people to jobs, education, opportunities, and to each other.

Inclusive Transportation is a vision for change and a new era of transportation planning. Davis explains why centering people in transportation decisions requires a great shift in how transportation planners and engineers are trained, how they communicate, the kind of data they collect, and how they work as professional teams. She examines what “equity” means for a transportation project, which is central to changing how we approach and solve problems to create something safer, better, and more useful for all people.

Davis aims to disrupt the status quo of the transportation industry. She urges transportation professionals to reflect on past injustices and elevate current practice to do the hard work that results in more than an idea and a catchphrase.

Inclusive Transportation is a call to action and a practical approach to reconnecting and shaping communities based on principles of justice and equity.

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In this dark, seductive YA fantasy debut, a siren in hiding must choose between protecting her family and following her heart.

Saoirse Sorkova survives on lies. As a soldier, she lies about being a siren to avoid execution. At night, working as an assassin, Saoirse lies about her true identity. And to her family, Saoirse tells the biggest lie of all: that she can control her powers and doesn’t constantly grapple with the impulse to kill.

When Saoirse is forced to accept a job guarding the crown prince, she expects to hate Prince Hayes. After all, his father enforces the kingdom’s brutal creature segregation laws. But Saoirse finds herself drawn to him—especially when they’re forced to work together to stop a deadly killer. There’s only one problem: Saoirse is that deadly killer.
With a forbidden romance and a compulsively dark plot, this fantasy is perfect for fans of A Song Below Water and To Kill a Kingdom.

Marlene loves three things: books, her cool Tía Ruby, and hanging out with her best friend Camila. But according to her mother, Paola, the only thing she needs to focus on is school and "growing up." That means straightening her hair every weekend so she can have "presentable," "good hair."

But Marlene hates being in the salon and doesn't understand why her curls are not considered pretty by those around her. With a few hiccups, a dash of embarrassment, and the much-needed help of Camila and Tia Ruby, she slowly starts a journey to learn to appreciate and proudly wear her curly hair.

At Camp Mirror Lake, terror is the name of the game . . . but can you survive the night?

This heart-pounding slasher by New York Times bestselling author Kalynn Bayron is perfect for fans of Fear Street.

Charity has the summer job of her dreams, playing the “final girl” at Camp Mirror Lake. Guests pay to be scared in this full-contact terror game, as Charity and her summer crew recreate scenes from a classic slasher film, The Curse of Camp Mirror Lake. The more realistic the fear, the better for business.

But the last weekend of the season, Charity’s co-workers begin disappearing. And when one ends up dead, Charity’s role as the final girl suddenly becomes all too real. If Charity and her girlfriend Bezi hope to survive the night, they’ll need figure out what this killer is after. As they unravel the bloody history of the real Mirror Lake, Charity discovers that there may be more to the story than she ever suspected . . .

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A BreakBeat Poets anthology of writings by Muslims who are women, queer, genderqueer, nonbinary, or trans.

The collected poems dispel the notion that there is one correct way to be a Muslim by holding space for multiple, intersecting identities while celebrating and protecting those identities.

Halal If You Hear Me features poems by Safia Elhillo, Fatimah Asghar, Warsan Shire, Tarfia Faizullah, Angel Nafis, Beyza Ozer, and many others.

Fatimah Asghar is the creator of the Emmy-Nominated web series Brown Girls, now in development for HBO. She is the author of If They Come For Us and a recipient of a 2017 Ruth Lilly and Dorothy Sargent Rosenberg Fellowship. She is a member of the Dark Noise Collective and a Kundiman fellow. In 2017, she was listed on Forbes’s 30 Under 30 list.

Safia Elhillo is the author of The January Children. Sudanese by way of Washington, DC and a Cave Canem fellow, she holds an MFA from the New School. In 2018, she was awarded a Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation.

Published in 1982, But Some of Us Are Brave was the first-ever Black women's studies reader and a foundational text of contemporary feminism. 

Featuring writing from eminent scholars, activists, teachers, and writers, such as the Combahee River Collective and Alice Walker, All the Women Are White, All the Blacks Are Men, But Some of Us Are Bravechallenges the absence of Black feminist thought in women’s studies, confronts racism, and investigates the mythology surrounding Black women in the social sciences. 

As the first comprehensive collection of Black feminist scholarship, But Some of Us Are Brave was recognized by Audre Lorde as “the beginning of a new era, where the ‘women’ in women’s studies will no longer mean ‘white.’” 

Coeditors Akasha (Gloria T.) Hull, Patricia Bell-Scott, and Barbara Smith are authors and former women's studies professors. Brittney C. Cooper is a professor of Women's and Gender Studies and Africana Studies at Rutgers University. She is the author of several books, including Eloquent Rage, named by Emma Watson as an Our Shared Shelf read for November/December 2018.

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Makeda Hicks has lost her job and her girlfriend in one fell swoop. The last thing she’s in the mood for is to rehash the story of her grandmother’s infamous summer fling with a runaway prince from Ibarania, or the investigator from the World Federation of Monarchies tasked with searching for Ibarania’s missing heir.

Yet when Beznaria Chetchevaliere crashes into her life, the sleek and sexy investigator exudes exactly the kind of chaos that organized and efficient Makeda finds irresistible, even if Bez is determined to drag her into a world of royal duty Makeda wants nothing to do with.

When a threat to her grandmother’s livelihood pushes Makeda to agree to return to Ibarania, Bez takes her on a transatlantic adventure with a crew of lovable weirdos, a fake marriage, and one-bed hijinks on the high seas. When they finally make it to Ibarania, they realize there’s more at stake than just cash and crown, and Makeda must learn what it means to fight for what she desires and not what she feels bound to by duty.

Reissued for the first time in over thirty years, Black New Orleans explores the twenty-year period in which the city's black population more than doubled. Meticulously researched and replete with archival illustrations from newspapers and rare periodicals, John W. Blassingame's groundbreaking history offers a unique look at the economic and social life of black people in New Orleans during Reconstruction. Not a conventional political treatment, Blassingame's history instead emphasizes the educational, religious, cultural, and economic activities of African Americans during the late nineteenth century.

"Blending historical and sociological perspectives, and drawing with skill and imagination upon a variety of sources, [Blassingame] offers fresh insights into an oft-studied period of Southern history. . . . In both time and place the author has chosen an extraordinarily revealing vantage point from which to view his subject. "-Neil R. McMillen, American Historical Review

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In It’s Always Been Ours eating disorder specialist and storyteller Jessica Wilson challenges us to rethink what having a "good" body means in contemporary society. By centering the bodies of Black women in her cultural discussions of body image, food, health, and wellness, Wilson argues that we can interrogate white supremacy’s hold on us and reimagine the ways we think about, discuss, and tend to our bodies.

A narrative that spans the year of racial reckoning (that wasn't), It’s Always Been Ours is an incisive blend of historical documents, contemporary writing, and narratives of clients, friends, and celebrities that examines the politics of body liberation. Wilson argues that our culture’s fixation on thin, white women reinscribes racist ideas about Black women's bodies and ways of being in the world as "too much." For Wilson, this white supremacist, capitalist undergirding in wellness movements perpetuates a culture of respectability and restriction that force Black women to perform unhealthy forms of resilience and strength at the expense of their physical and psychological needs.

With just the right mix of wit, levity, and wisdom, Wilson shows us how a radical reimagining of body narratives is a prerequisite to well-being. It’s Always Been Ours is a love letter that celebrates Black women’s bodies and shows us a radical and essential path forward to rediscovering their vulnerability and joy.

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This stunning, early-concept board book series features an intergenerational Black family over the course of a day at the local grocery store, as readers learn colors and numbers. 

When Mom realizes there are zero eggs in the house, the entire family heads to the store to pick up more. Readers can join the counting fun as the family shops and adds more items to their basket--from three bananas to five plums--amid the backdrop of a bustling market. Publishing simultaneously with The Rainbow Park, The Numbers Store studies numbers through the experience of an intergenerational Black family’s trip to the local grocery store.

A Cinderella story as you've never seen it before."

After the untimely passing of her father, Tillar Reed had to grow up quickly and let go of her childish desires for fairytales, romance and true love's first kiss. But when she finds herself back home for the first time in years to keep her father's house in the family, she meets an unlikely Prince Charming figure in Cameron Logan. Now she has to decide if this is really the happily ever after she dreamed of once upon a time or if she'd rather keep her options open because glass slippers just aren't her style anymore.

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As his twenty-sixth birthday approaches, Desta Joy Walker finds himself in Addis Ababa, Ethiopia, the one place he's been actively avoiding most of his life. For Desta, the East African capital encompasses some of the happiest and saddest parts of his life-his first home and the place where his father died. When an unavoidable work obligation lands him there for twelve weeks, he may finally have a chance for the closure he so desperately needs. What Desta never expected was to catch a glimpse of his future as he reconnects with the beautiful country and his family's past.

Elias Fikru has never met an opportunity he hasn't seized. Except, of course, for the life-changing one, he's stubbornly ignored for the past nine months. He'd be a fool not to accept the chance to pursue his doctoral studies in the U.S., but saying yes means leaving his homeland, and Elias isn't ready to make that commitment.

Meeting Desta, the Dominican-American emergency relief worker with the easy smile and sad eyes, makes Elias want things he's never envisioned for himself. Rediscovering his country through Desta's eyes emboldens Elias to reach for a future where he can be open about every part of himself. But when something threatens the future that's within their grasp, Elias and Desta must put it all on the line for love.

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A cosmic horror is rising in Red Hook, and Black Tom must either stop it or help it grow.

People move to New York looking for magic and nothing will convince them it isn't there.

Charles Thomas Tester hustles to put food on the table, keep the roof over his father's head, from Harlem to Flushing Meadows to Red Hook. He knows what magic a suit can cast, the invisibility a guitar case can provide, and the curse written on his skin that attracts the eye of wealthy white folks and their cops. But when he delivers an occult tome to a reclusive sorceress in the heart of Queens, Tom opens a door to a deeper realm of magic, and earns the attention of things best left sleeping.

A storm that might swallow the world is building in Brooklyn. Will Black Tom live to see it break?