A new edition of the classic New York Times bestseller edited by Toni Morrison, offering an encyclopedic look at the black experience in America from 1619 through the 1940s with the original cover restored.

When Toni Morrison was a senior editor at Random House, she worked with four prominent collectors of black memorabilia to develop this extraordinary “scrapbook” of more than five hundred images detailing the rich cultural and social history of African Americans—from the era of the transatlantic slave trade through the start of the Civil Rights movement. Now, as the nation marks the four hundredth anniversary of the first enslaved Africans’ arrival on these shores, The Black Book returns to print in hardcover, featuring the original jacket design.

“Henry Louis Gates is a national treasure. Here, he returns with an intellectual and at times deeply personal meditation on the hard-fought evolution and the very meaning of African-American identity, calling upon our country to transcend its manufactured divisions.” — Isabel Wilkerson, author of The Warmth of Other Suns and Caste A magnificent, foundational reckoning with how Black Americans have used the written word to define and redefine themselves, in resistance to the lies of racism and often in heated disagreement with each other, over the course of the country’s history. Distilled over many years from Henry Louis Gates, Jr.’s legendary Harvard introductory course in African American Studies, The Black Box: Writing the Race, is the story of Black self-definition in America through the prism of the writers who have led the way. From Phillis Wheatley and Frederick Douglass, W.E.B. Du Bois and Booker T. Washington, to Zora Neale Hurston and Richard Wright, James Baldwin and Toni Morrison—these writers used words to create a livable world—a "home" —for Black people destined to live out their lives in a bitterly racist society. It is a book grounded in the beautiful irony that a community formed legally and conceptually by its oppressors to justify brutal sub-human bondage, transformed itself through the word into a community whose foundational definition was based on overcoming one of history’s most pernicious lies. This collective act of resistance and transcendence is at the heart of its self-definition as a "community." Out of that contested ground has flowered a resilient, creative, powerful, diverse culture formed by people who have often disagreed markedly about what it means to be "Black," and about how best to shape a usable past out of the materials at hand to call into being a more just and equitable future. This is the epic story of how, through essays and speeches, novels, plays, and poems, a long line of creative thinkers has unveiled the contours of—and resisted confinement in—the "black box" inside which this "nation within a nation" has been assigned, willy nilly, from the nation’s founding through to today. This is a book that records the compelling saga of the creation of a people.

For the young Henry Louis Gates, Jr., growing up in a small, segregated West Virginia town, the church was his family and his community’s true center of gravity. Within those walls, voices were lifted up in song to call forth the best in each other, and to comfort each other when times were at their worst. In this book, his tender and magisterial reckoning with the meaning of the Black church in American history, Gates takes us from his own experience onto a journey across more than four hundred years and spanning the entire country. At road’s end, we emerge with a new understanding of the centrality of the Black church to the American story—as a cultural and political force, as the center of resistance to slavery and white supremacy, as an unparalleled incubator of talent, and as a crucible for working through the community’s most important issues, down to today.

The Black Experience in Design spotlights teaching practices, research, stories, and conversations from a Black/African diasporic lens.

Excluded from traditional design history and educational canons that heavily favor European modernist influences, the work and experiences of Black designers have been systematically overlooked in the profession for decades. However, given the national focus on diversity, equity, and inclusion in the aftermath of the nationwide Black Lives Matter protests in the United States, educators, practitioners, and students now have the opportunity—as well as the social and political momentum—to make long-term, systemic changes in design education, research, and practice, reclaiming the contributions of Black designers in the process.

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

A YA anthology of horror stories centering Black girls who battle monsters, both human and supernatural, and who survive to the end Be warned, dear reader: The Black girls survive in this one. Celebrating a new generation of bestselling and acclaimed Black writers, The Black Girl Survives in This One makes space for Black girls in horror. Fifteen chilling and thought-provoking stories place Black girls front and center as heroes and survivors who slay monsters, battle spirits, and face down death. Prepare to be terrified and left breathless by the pieces in this anthology. The bestselling and acclaimed authors include Erin E. Adams, Monica Brashears, Charlotte Nicole Davis, Desiree S. Evans, Saraciea J. Fennell, Zakiya Dalila Harris, Daka Hermon, Justina Ireland, L.L. McKinney, Brittney Morris, Maika & Maritza Moulite, Eden Royce, and Vincent Tirado. The foreword is by Tananarive Due.

In an alternate New Orleans caught in the tangle of the American Civil War, the wall-scaling girl named Creeper yearns to escape the streets for the air – in particular, by earning a spot on-board the airship Midnight Robber. Creeper plans to earn Captain Ann-Marie’s trust with information she discovers about a Haitian scientist and a mysterious weapon he calls The Black God’s Drums.

But Creeper also has a secret herself: Oya, the African orisha of the wind and storms, speaks inside her head, and may have her own ulterior motivations.

Soon, Creeper, Oya, and the crew of the Midnight Robber are pulled into a perilous mission aimed to stop the Black God’s Drums from being unleashed and wiping out the entirety of New Orleans.

This special, totally singular, nearly uncomp-able book is a LITERARY *and* VISUAL love letter to the role of joy in Black life — giving a full, 360-degree picture of how Black people resist oppression and thrive.

(The book is to be savored in the read and in the aesthetics.)

“Unlike happiness, joy is a lasting state that can be sustained even when everything is not the way we want it to be.” — bell hooks

Black Joy is everywhere. From the bustling streets of Lagos to hip-hop blasting through apartment windows in the Bronx. From the wide-open coastal desert of Namibia to the lush slopes of the Blue Mountains of Jamaica. From the thriving tradition of Candomblé in Bahia to the innovative and trendsetting styles of Soweto, and beyond, Black Joy is present in every place that Black people exist. 

Too often, though, Blackness gets represented with pain, suffering and violence. Yet what is always in the mix—what is always constant, no matter the historical atrocity or systemic injustice—is Black Joy. Amplifying Black Joy is not about dismissing or creating an “alternative” narrative that ignores the realities of collective hurt. Rather, it is about holding the hurt, in tension with the joy, because that is how Black people around the world actually live. Joy deserves more credit for the self-preservation and survival of Black communities than it tends to get.

Enter The Black Joy Project.

Created by educator and activist Kleaver Cruz, The Black Joy Project is a digital and real-world affirmation that Black Joy is a source of healing, resistance, and regeneration, for Black people of all backgrounds and identities. The book expands on a simple question at the root of the project: “What does Black Joy mean to you?” Cruz’s powerful treatise on the subject, combined with stunning, vibrant images of Black Joy in everyday life, present a necessary, perspective-shifting work. Each page of The Black Joy Project is a reprieve for the spirit and, in capturing life across the diaspora, offers an opportunity to do what Black Joy does best: reimagine new ways of being.

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A bold and fascinating graphic novel history of the revolutionary Black Panther Party.

Founded in Oakland, California, in 1966, the Black Panther Party for Self-Defense was a radical political organization that stood in defiant contrast to the mainstream civil rights movement. This gripping illustrated history explores the impact and significance of the Panthers, from their social, educational, and healthcare programs that were designed to uplift the Black community to their battle against police brutality through citizen patrols and frequent clashes with the FBI, which targeted the Party from its outset.

An acclaimed poet reclaims her origin story as the queer daughter of a Muslim Nigerian immigrant and a Black American visual artist in this groundbreaking memoir, combining lyrical prose, biting criticism, and haunting visuals.

“Hafizah Augustus Geter is a genuine artist, not bound by genre or form. Her only loyalty is the harrowing beauty of the truth.”—Tayari Jones, author of An American Marriage

“I say, ‘the Black Period,’ and mean ‘home’ in all its shapeshifting ways.” In The Black Period, Hafizah creates a space for the beauty of Blackness, Islam, disability, and queerness to flourish, celebrating the many layers of her existence that America has time and again sought to erase.

At nineteen, she lost her mother to a sudden stroke. Weeks later, her father became so heartsick that he needed a triple bypass. By her thirties, she was constantly in pain, pinballing between physical therapy appointments, her grief, and the grind that is the American Dream. Hafizah realized she'd spent years internalizing the narratives that white supremacy had fed her about herself. Suddenly, she says, I was standing at the cliff of my own life, remembering.

Recalling her parents’ lessons on the art of Black revision, and mixing history, political analysis, and cultural criticism, alongside stunning original artworks created by her father, renowned artist Tyrone Geter, Hafizah maps out her own narrative, weaving between a childhood populated with Southern and Nigerian relatives; her days in a small Catholic school; a loving but tragically short relationship with her mother; and the feelings of joy and community that the Black Lives Matter protests engendered in her as an adult. All throughout, she forms a new personal and collective history, addressing the systems of inequity that make life difficult for non-able-bodied persons, queer people, and communities of color while capturing a world brimming with potential, art, music, hope, and love.

A unique combination of gripping memoir and Afrofuturist thought, in The Black Period, Hafizah manages to sidestep shame, confront disability, embrace forgiveness, and emerge from the erasures

"The claim of The Black Poets  to being... an anthology is that it  presents the full range of Black-American poetry,  from the slave songs to the present day. It is  important that folk poetry be included because it is  the root and inspiration of later, literary  poetry. Not only does this book present the full range  of Black poetry, but it presents most poets in  depths, and in some cases presents aspects of a poet  neglected or overlooked before. Gwendolyn Brooks  is represented not only by poems on racial and  domestic themes, but is revealed as a writer of  superb love lyrics. Tuming away from White models and  retuming to their roots has freed Black poets to  create a new poetry. This book records their  progress."--from the Introduction by Dudley  Randall

A short introduction to Black Humanism: its history, its present, and the rich cultural sensibilities that infuse it

In the United States, to be a Black American is to be a Black Christian. And there’s something to this assumption in that the vast majority of African Americans are Christian. However, in recent years a growing number of African Americans have said they claim no particular religious affiliation—they are Black "nones." And of these Black "nones," the most public and vocal are those who claim to be humanists.

What does it mean to be a Black humanist? What do Black humanist believe, and what do they do? This slim volume answers these questions. Animated by six central principles, and discussed in terms of its history, practices, formations, and community rituals, this book argues that Black humanism can be understood as a religious movement. Pinn makes a distinction between theism and religion—which is simply a tool for examining, naming, and finding the meaning in human experience. Black humanism, based on this definition isn’t theistic but it is a religious system used to explore human experience and foster life meaning. It infuses humanism with rich cultural sensibilities drawn from Black experience. As shown in these pages, thinking about Black humanism this way frees readers from making unfounded assumptions and enables them to better appreciate the secular “beliefs,” ritual structures, and community formation constituted by Black humanists.

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Michael Eric Dyson dives deep into the true meaning of Barack Obama’s historic presidency and its effects on the changing landscape of race and blackness in America. How has race shaped Obama’s identity, career, and presidency? What can we learn from his major race speeches about his approach to racial conflict and the black criticism it provokes?

Dyson was granted an exclusive interview with the president for this book, and Obama’s own voice shines through. Along with interviews with Eric Holder, Al Sharpton, Maxine Waters, and others, this intimate access provides a unique depth to this engrossing analysis of the nation’s first black president, and how race shapes and will shape our understanding of his achievements and failures alike.

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Nova Albright was going to be the first Black homecoming queen at Lovett High—but now she's dead. Murdered on coronation night. Fans of One of Us Is Lying and The Other Black Girl will love this unputdownable thriller.

Nova Albright, the first Black homecoming queen at Lovett High, is dead. Murdered the night of her coronation, her body found the next morning in the old slave cemetery she spent her weekends rehabilitating.

Tinsley McArthur was supposed to be queen. Not only is she beautiful, wealthy, and white, it’s her legacy—her grandmother, her mother, and even her sister wore the crown before her. Everyone in Lovett knows Tinsley would do anything to carry on the McArthur tradition.

No one is more certain of that than Duchess Simmons, Nova’s best friend. Duchess’s father is the first Black police captain in Lovett. For Duchess, Nova’s crown was more than just a win for Nova. It was a win for all the Black kids. Now her best friend is dead, and her father won’t face the fact that the main suspect is right in front of him. Duchess is convinced that Tinsley killed Nova—and that Tinsley is privileged enough to think she can get away with it. But Duchess’s father seems to be doing what he always does: fall behind the blue line. Which means that the white girl is going to walk.

Duchess is determined to prove Tinsley’s guilt. And to do that, she’ll have to get close to her.

But Tinsley has an agenda, too.

Everyone loved Nova. And sometimes, love is exactly what gets you killed.

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.While Black Americans have long felt the devastating effects of anti-black discrimination, they have often had great difficulty articulating and substantiating both the existence and impact of that discrimination to an American public who is convinced that it no longer exists. Professionals in academia, the media, and the business community, along with people in the general public have struggled to explain the significant and persistent gaps (in wealth, employment, achievement and poverty) between Black and White communities in what they perceive to be a post racial America.In his new book The Black Tax: The Cost of being Black in America, Shawn Rochester shows how The Black Tax (which is the financial cost of conscious and unconscious anti-black discrimination), creates a massive financial burden on Black American households that dramatically reduces their ability to leave a substantial legacy for future generations. Mr. Rochester lays out an extraordinarily compelling case which documents the enormous financial cost of current and past anti-black discrimination on African American households. The Black Tax, provides the fact pattern, data and evidence to substantiate what African Americans have long experienced and tried to convey to an unbelieving American public.Backed by an exceptional amount of research, Mr. Rochester not only highlights the extraordinary cost of the discrimination that African Americans currently face, but also explores the massive cost of past discrimination to explain why after 400 years Black Americans own only about 2% of American wealth. He then establishes a framework that Black Americans and other concerned parties can use to eliminate this tax and help create the 6 million jobs and 1.4 million businesses that are missing from the Black community.The Black Tax takes the reader through a complete paradigm shift that causes the reader to evaluate all forms of spending and investment in terms of the number of jobs created or businesses developed within the Black community.The Black Tax is immensely informative, thoroughly engaging and makes one of the most compelling and effective cases to commercialize Black businesses since the founding of the Negro Business League in 1910.

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On the abstruse nature of machine learning, mathematics, and the deep incursion of racial hierarchy.

To impair the racial ordering of the world, The Black Technical Object introduces the history of statistical analysis and “scientific” racism into research on machine learning. Computer programming designed for taxonomic patterning, machine learning offers useful insights into racism and racist behavior, but its connection to the racial history of science and the Black lived experience has yet to be developed. In this book, Ramon Amaro explores how the history of data and statistical analysis informs the complex relationship between race and machine learning. He juxtaposes a practical analysis of this type of computerized learning with a theory of Black alienation in order to inspire alternative approaches to contemporary algorithmic practice. In doing so, Amaro contemplates the abstruse nature of programming and mathematics, as well as the deep incursion of racial hierarchies.

Series Overview: In the decades that followed the demise of decolonial struggles and the end of the USSR, a great deal of intellectual effort was devoted to conceptualizing political emancipation as freedom from the masses rather than freedom for the masses. Focusing on connectivity rather than on collectivity, these modalities of political action led to depoliticizing effects and to a certain counter-political ethos expressed in terms such as parapolitics, psychopolitics, or micropolitics, all which this series terms “antipolitical.” Rather than counter the arguments that each term puts forth, On the Antipolitical, edited by Ana Teixeira Pinto, suggests historizing this disposition, situating it within the neocolonial continuum that animates the digital frontier as the new locus of settler becoming.

A lyrical meditation on how Black Americans have envisioned utopia―and sought to transform their lives.

How do the disillusioned, the forgotten, and the persecuted not merely hold on to life but expand its possibilities and preserve its beauty? What, in other words, does utopia look like in black?

These questions animate Aaron Robertson’s exploration of Black Americans' efforts to remake the conditions of their lives. Writing in the tradition of Saidiya Hartman and Ta-Nehisi Coates, Robertson makes his way from his ancestral hometown of Promise Land, Tennessee, to Detroit―the city where he was born, and where one of the country’s most remarkable Black utopian experiments got its start. Founded by the brilliant preacher Albert Cleage Jr., the Shrine of the Black Madonna combined Afrocentric Christian practice with radical social projects to transform the self-conception of its members. Central to this endeavor was the Shrine’s chancel mural of a Black Virgin and child, the icon of a nationwide liberation movement that would come to be known as Black Christian Nationalism. The Shrine’s members opened bookstores and co-ops, created a self-defense force, and raised their children communally, eventually working to establish the country’s largest Black-owned farm, where attempts to create an earthly paradise for Black people continues today.

Alongside the Shrine’s story, Robertson reflects on a diverse array of Black utopian visions, from the Reconstruction era through the countercultural fervor of the 1960s and 1970s and into the present day. By doing so, Robertson showcases the enduring quest of collectives and individuals for a world beyond the constraints of systemic racism.

The Black Utopians offers a nuanced portrait of the struggle for spaces―both ideological and physical―where Black dignity, protection, and nourishment are paramount. This book is the story of a movement and of a world still in the making―one that points the way toward radical alternatives for the future.

A gripping exploration of the joys, hardships, and truths of Black students through intimate, honest dialogues and stunning photography, author of Heavy “A radical, reverential, and restorative document of community.”—Rebecca Bengal, author of Strange Hours: Photography, Memory, and the Lives of Artists When photographer Adraint Bereal graduated from the University of Texas, he self-published an impressive volume of portraits, personal statements, and interviews that explored UT's campus culture and offered an intimate look at the lives of Black students matriculating within a majority white space. Bereal's work was inspired by his first photo exhibition at the George Washington Carver Museum in Austin, entitled 1.7, that unearthed the experiences of the 925 Black men that made up just 1.7% of UT's total 52,000 student body. Now Bereal expands the scope of his original project and visits colleges nationwide, from Historically Black Colleges and Universities (HBCUs) to predominantly white institutions to trade schools and more. Rather than dwelling on the monolith of trauma often associated with Black narratives, Bereal is dedicated to using honest dialogue to share stories of true joy and triumph amidst the hardships, prejudices, and internal struggles. Using an exciting and eclectic design approach to accompany the portraits and stories, each individual profile effectively conveys the interviewee's unique voice, tone, and background. The Black Yearbook reframes society's stereotypical perception of higher education by representing and celebrating the wide range of Black experiences on campuses.

The Blackwoods. Everyone knows their name. Blossom Blackwood burst onto the silver screen in 1962, and in the decades that followed, she would become one of the most celebrated actors of her time—and the matriarch of Hollywood’s most famous Black family. To her great-granddaughters, Hollis and Ardith, she has always just been Bebe. And when she passes away, it changes everything.

Hollis Blackwood was never interested in fame. Still, she’s surrounded by it, at home with her family and at the prestigious Dupree Academy alongside Los Angeles’s elite. When private photos of Hollis are leaked in the wake of Blossom’s death, she is thrust into the spotlight she’s long avoided—and finds that trust may be a luxury even she can’t afford.

Ardith Blackwood has always lived in the public eye. A television star since childhood, she was perhaps closer with Blossom than anyone—especially after her mother died from a drug overdose. Ever since, she has worked to be everything her family, her church, and the media want her to be. But as a family secret comes to light and the pressures from all sides begin to mount, she wonders what is left beneath the face she shows the world.

Weaving together the narratives of Hollis, Ardith, and Blossom, award-winning author Brandy Colbert tells a boldly original story set in an America where everything is personal, and nothing is private.  

A group of friends fight to choose their own fates in this trope-savvy, self-referential young adult thriller from the acclaimed author of Their Vicious Games, about a demonic force that acts according to horror movie rules in the spirit of the Scream movies.

Devon is always being left behind by her genius twin sister, Drew. At this point, it’s a fact of life. But Devon has one last plan before Drew leaves for college a whole year early—The Best Summer Ever. After committing to the bit a little too much, the twins and their chaotic circle of friends learn why you don’t ever mess with a Ouija board if you want to actually survive the Best Summer Ever, and soon find themselves being hunted down by…a demon?

But while there’s no mistaking the creeping, venomous figure is not from around here, their method doesn’t feel very demonic at all. In fact, it’s downright human—going after them in typical slasher movie kill order. And that means Devon, the blonde, is up first and her decade-long crush, Yaya, is the Final Girl who must kill or be killed to end the cycle.

Devon has never liked playing by anyone else’s rules though, not even a demon’s, and the longer this goes on, the more she feels Drew and Yaya slipping away from her even as she tries to help them all survive. Can they use their horror movie knowledge to flip the script and become the hunters instead of the hunted? Or will their best summer ever be their last?

In this stunning conclusion to N. E. Davenport’s fast-paced, action-packed sci-fantasy duology, elite warrior Ikenna and her rogue cohort must outrun bounty hunters, their former comrades, and a megalomaniacal demi-god, all in the hopes of saving their friends and enemies from the racist and misogynistic oppression that threatens the continents from all sides.

After discovering the depth of betrayal, treachery, and violence perpetrated against her by Mareen’s Tribunal Council and exposing her illegal blood-gift to save her Praetorian squad, Ikenna becomes a fugitive with a colossal bounty on her head.

Yet, somehow, that’s the least of her worries.

Her grandfather’s longtime allies refuse to offer help, and the Blood Emperor’s Warlord is tracking her. She’s also struggling to control the enormous power she was granted by the Goddess of Blood Rites…and come to terms with the promises she made to get such power.

Amidst all of this, the Blood Emperor wages a full-scale invasion against Mareen and leaves a trail of decimated cities, war crimes, and untold death in his wake. As the horrors increase, Ikenna and her team realize they must assassinate the Blood Emperor and quickly end the war. But the price to do so is steep and has planet-shattering consequences.

The price to do nothing, though, is annihilation.

War has erupted. Alliances are fracturing. And Ikenna is torn between her loyalties, her desires for revenge, and the power threatening to consume her. With the world aflame, only one thing is certain: blood will be spilled.

Blending fantasy and science fiction, N. E. Davenport’s fast-paced, action-packed debut kicks off a duology of loyalty and rebellion, in which a young Black woman must survive deadly trials in a racist and misogynistic society to become an elite warrior.

It’s all about blood.

The blood spilled between the Republic of Mareen and the armies of the Blood Emperor long ago. The blood gifts of Mareen’s deadliest enemies. The blood that runs through the elite War Houses of Mareen, the rulers of the Tribunal dedicated to keeping the republic alive.

The blood of the former Legatus, Verne Amari, murdered.

For his granddaughter, Ikenna, the only thing steady in her life was the man who had saved Mareen. The man who had trained her in secret, not just in martial skills, but in harnessing the blood gift that coursed through her.

Who trained her to keep that a secret.

But now there are too many secrets, and with her grandfather assassinated, Ikenna knows two things: that only someone on the Tribunal could have ordered his death, and that only a Praetorian Guard could have carried out that order.

Bent on revenge as much as discovering the truth, Ikenna pledges herself to the Praetorian Trials—a brutal initiation that only a quarter of the aspirants survive. She subjects herself to the racism directed against her half-Khanaian heritage and the misogyny of a society that cherishes progeny over prodigy, all while hiding a power that—if found out—would subject her to execution…or worse. Ikenna is willing to risk it all because she needs to find out who murdered her grandfather…and then she needs to kill them.

Mareen has been at peace for a long time…

Ikenna joining the Praetorians is about to change all that.

Magic and technology converge in the first part of this stunning debut duology, where loyalty to oneself—and one’s blood—is more important than anything.

A powerful work of Afro-magic realism that interrogates the legacy of slavery and roots of poverty, witnesses the beauty and power in survival, and asks whether belief, magic, and intention can forge new realities

Blue’s daughter, Tsitra, is dying a horrific death. Thousands of miles away, Blue feels time slowing and hears voices, followed by an 18-month stillness. More than a century before, Blue’s grandparents, Amanda and Palmer, attend a salon party in New Orleans. It’s a veritable array of who’s-who within pre–Civil War social circles. Conversations get heated quickly as Ismay, the hostess who hails from French royalty, antagonizes Palmer, a landowner whose parents had been sold into American slavery and who’s there to seek revenge, and Amanda, a shapeshifter and puzzlemaker who had been enslaved until this very gathering. At this party, Amanda learns of a plot that will doom a line of her—and Palmer’s—family to poverty. She devises her own counter-plot to undo the damage.

Meanwhile, Blue comes out of her stillness, broke and devoid of inspiration. In profound grief and consumed by guilt, Blue travels to The Ranch where the voices grow louder and she has visions of two women from the distant past. As time collapses and Blue and Amanda meet in the space of possibility, Blue feels the spark of a power and creative energy she has only glimpsed. A novel of invention but grounded in the real, The Blue Is Where God Lives is a dual-timeline, time-bending novel of undeniable beauty, magic, and possibility.

A charming story about a young girl who loves fixing automobiles with her grandfather on the warm grounds of Jamaica, Natasha Tripplett's debut picture book is a perfect pick for fans of My Papi Has a Motorcycle and The Old Truck.

Ju-Girl’s favorite days are the ones spent with Granddad in his garage, fixing cars and hearing stories about his old blue pickup.

Granddad used to drive the blue pickup all over the island, bringing happiness to many. And now it just sits in the driveway.

One day, Ju-Girl asks Granddad if he’d ever fix it, and he’s unsure at first. But the pair soon finds out just what it takes to restore the memory of the blue pickup and to create new stories along the way. 

This heartwarming layered tale, brought to life with lush illustrations by Monica Mikai (Thank a Farmer), reminds us about the joy of repairing things with our hands and preserving stories with our hearts.

Paperback Release: February 11, 2025

 In the vein of Octavia E. Butler and Margaret Atwood, a harrowing novel set in an alternate United States—a world of injustice and bondage in which a young Black woman becomes the concubine of a powerful white government official and must face the dangerous consequences.

Solenne Bonet lives in Texas where choice no longer exists. An algorithm determines a Black woman’s occupation, spouse, and residence. Solenne finds solace in penning the biography of Henriette, an ancestor who’d been an enslaved concubine to a wealthy planter in 1800s Louisiana. But history repeats itself when Solenne, lonely and naïve, finds herself entangled with Bastien Martin, a high-ranking government official. Solenne finds the psychological bond unbearable, so she considers alternatives. With Henriette as her guide, she must decide whether and how to leave behind all she knows.  

Inspired by the lives of enslaved concubines to U.S. politicians and planters, The Blueprint unfolds over dual timelines to explore bodily autonomy, hypocrisy, and power imbalances through the lens of the nation’s most unprotected: a Black girl.

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The Body Is Not an Apology offers radical self-love as the balm to heal the wounds inflicted by these violent systems. World-renowned activist and poet Sonya Renee Taylor invites us to reconnect with the radical origins of our minds and bodies and celebrate our collective, enduring strength. As we awaken to our own indoctrinated body shame, we feel inspired to awaken others and to interrupt the systems that perpetuate body shame and oppression against all bodies. When we act from this truth on a global scale, we usher in the transformative opportunity of radical self-love, which is the opportunity for a more just, equitable, and compassionate world—for us all.

This second edition includes stories from Taylor’s travels around the world combating body terrorism and shines a light on the path toward liberation guided by love. In a brand new final chapter, she offers specific tools, actions, and resources for confronting racism, sexism, ableism, homophobia, and transphobia. And she provides a case study showing how radical self-love not only dismantles shame and self-loathing in us but has the power to dismantle entire systems of injustice. Together with the accompanying workbook, Your Body Is Not an Apology, Taylor brings the practice of radical self-love to life.