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Vampires and vaqueros face off on the Texas-Mexico border in this supernatural western from the author of The Hacienda.

A love letter to the Southern biscuit, honoring its place in Black culinary culture and beyond with over 70 delicious recipes.

Still We Rise is a tribute to the glories of flour, butter, and buttermilk baked tall, tender, and flaky. Erika Council is the founder and head baker of the renowned Bomb Biscuit Company in Atlanta, Georgia. The granddaughter of legendary soul food chef Mildred (Mama Dip) Council and a teacher and activist who cooked and baked to support the civil rights movement, Erika knows all about the power of the persistent biscuit.

Here, Erika has perfected traditional biscuit types alongside inventive new creations. Her recipes connect readers to stories of the family, friends, and Southern culinary icons who instilled in her a love of baking.

Through over 70 unique recipes for biscuits, spreads, sandwiches, and a convenient home biscuit mix that will have you whipping up fluffy biscuits and bis-cakes in minutes, Erika takes us on a journey through Black excellence, resilience, and heritage in the American South. Step into her world and enjoy her classic Bomb Buttermilk Biscuit, the lightest Angel Biscuits, and new favorites like Corn Milk Biscuits, Everything “Bagel” Biscuits, Hominy Honey Butter, and the Glori-Fried Chicken Biscuit Sandwich, (plus a mind-blowing Cinnamon Sugar and Pecan Biscuit).

Paperback Release: July 29, 2025

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….

Passed On is a portrait of death and dying in twentieth-century African America. Through poignant reflection and thorough investigation of the myths, rituals, economics, and politics of African American mourning and burial practices, Karla FC Holloway finds that ways of dying are just as much a part of black identity as ways of living. Gracefully interweaving interviews, archival research, and analyses of literature, film, and music, Holloway shows how the vulnerability of African Americans to untimely death is inextricably linked to how black culture represents itself and is represented.

With a focus on the “death-care” industry—black funeral homes and morticians, the history of the profession and its practices—Holloway examines all facets of the burial business, from physicians, hospital chaplains, and hospice administrators, to embalming- chemical salesmen, casket makers, and funeral directors, to grieving relatives. She uses narrative, photographs, and images to summon a painful history of lynchings, white rage and riot, medical malpractice and neglect, executions, and neighborhood violence. Specialized caskets sold to African Americans, formal burial photos of infants, and deathbed stories, unveil a glimpse of the graveyards and burial sites of African America, along with burial rituals and funeral ceremonies.
Revealing both unexpected humor and anticipated tragedy, Holloway tells a story of the experiences of black folk in the funeral profession and its clientele. She also reluctantly shares the story of her son and the way his death moved her research from page to person.
In the conclusion, which follows a sermon delivered by Maurice O. Wallace at the funeral for the author’s son, Bem, Holloway strives to commemorate—through observation, ceremony, and the calling of others to remembrance and celebration.

Alexander Ghedi Weheliye traces R&B music’s continued relevance for Black life since the late 1970s, showing how it remains a thriving venue for the continued expression of Black thought and life and a primary archive of the contemporary moment.

In Feenin, Alexander Ghedi Weheliye traces R&B music’s continuing centrality in Black life since the late 1970s. Focusing on various musical production and reproduction technologies such as auto-tune and the materiality of the BlackFem singing voice, Weheliye counteracts the widespread popular and scholarly narratives of the genre’s decline and death. He shows how R&B remains a thriving venue for the expression of Black thought and life and a primary archive of the contemporary moment. Among other topics, Weheliye discusses the post-disco evolution of house music in Chicago and techno in Detroit, Prince and David Bowie in relation to the appropriations of Blackness and Euro-whiteness in the 1980s, how the BlackFem voice functions as a repository of Black knowledge, the methods contemporary R&B musicians use to bring attention to Black Lives Matter, and the ways vocal distortion technologies such as the vocoder demonstrate Black music’s relevance to discussions of humanism and posthumanism. Ultimately, Feenin represents Weheliye’s capacious thinking about R&B as the site through which to think through questions of Blackness, technology, history, humanity, community, diaspora, and nationhood.

The contributors to The Black Geographic explore the theoretical innovations of Black Geographies scholarship and how it approaches Blackness as historically and spatially situated.

The contributors to The Black Geographic explore the theoretical innovations of Black Geographies scholarship and how it approaches Blackness as historically and spatially situated. In studies that span from Oakland to the Alabama Black Belt to Senegal to Brazil, the contributors draw on ethnography, archival records, digital humanities, literary criticism, and art to show how understanding the spatial dimensions of Black life contributes to a broader understanding of race and space. They examine key sites of inquiry: Black spatial imaginaries, resistance to racial violence, the geographies of racial capitalism, and struggles over urban space. Throughout, the contributors demonstrate that Blackness is itself a situating and place-making force, even as it is shaped by spatial processes and diasporic routes. Whether discussing eighteenth- and nineteenth-century abolitionist print records or migration and surveillance in Niger, this volume demonstrates that Black Geographies is a mode of analyzing Blackness that fundamentally challenges the very foundations of the field of geography and its historical entwinement with colonialism, enslavement, and imperialism. In short, it marks a new step in the evolution of the field.

Contributors. Anna Livia Brand, C.N.E. Corbin, Lindsey Dillon, Chiyuma Elliott, Ampson Hagan, Camilla Hawthorne, Matthew Jordan-Miller Kenyatta, Jovan Scott Lewis, Judith Madera, Jordanna Matlon, Solange Muñoz, Diana Negrín, Danielle Purifoy, Sharita Towne

Even though there were relatively few people of color in postrevolutionary France, images of and discussions about black women in particular appeared repeatedly in a variety of French cultural sectors and social milieus. In Vénus Noire, Robin Mitchell shows how these literary and visual depictions of black women helped to shape the country’s postrevolutionary national identity, particularly in response to the trauma of the French defeat in the Haitian Revolution.

Vénus Noire explores the ramifications of this defeat in examining visual and literary representations of three black women who achieved fame in the years that followed. Sarah Baartmann, popularly known as the Hottentot Venus, represented distorted memories of Haiti in the French imagination, and Mitchell shows how her display, treatment, and representation embodied residual anger harbored by the French. Ourika, a young Senegalese girl brought to live in France by the Maréchal Prince de Beauvau, inspired plays, poems, and clothing and jewelry fads, and Mitchell examines how the French appropriated black female identity through these representations while at the same time perpetuating stereotypes of the hypersexual black woman.

Finally, Mitchell shows how demonization of Jeanne Duval, longtime lover of the poet Charles Baudelaire, expressed France’s need to rid itself of black bodies even as images and discourses about these bodies proliferated. The stories of these women, carefully contextualized by Mitchell and put into dialogue with one another, reveal a blind spot about race in French national identity that persists in the postcolonial present.

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.

In the second book in the Detective Harriet Foster thriller series, author Tracy Clark weaves a twisted journey into the underbelly of Chicago as Harriet and her team work to unmask a serial killer stalking the city’s aldermen.

The Chicago PD is on high alert when two city aldermen are found dead: one by apparent suicide, one brutally stabbed in his office, and both with thirty dimes left on their bodies—a betrayer’s payment. With no other clues, the question is, Who else has a debt to pay?

Detective Harriet Foster is on the case before the killer can strike again. But even with the help of her partner, Detective Vera Li, and the rest of their team, Harriet has little to go on and a lot at risk. There’s no telling who the killer’s next target is or how many will come next.

To stop another murder, Harriet and her officers will have to examine what the victims had going on behind the scenes to determine who could be tangled up in this web of betrayal…and who could be out for revenge.

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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.

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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.