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An award-winning scholar exposes the foundational racism of the child welfare system and calls for radical change 

Many believe the child welfare system protects children from abuse. But as Torn Apart uncovers, this system is designed to punish Black families. Drawing on decades of research, legal scholar and sociologist Dorothy Roberts reveals that the child welfare system is better understood as a “family policing system” that collaborates with law enforcement and prisons to oppress Black communities. Child protection investigations ensnare a majority of Black children, putting their families under intense state surveillance and regulation. Black children are disproportionately likely to be torn from their families and placed in foster care, driving many to juvenile detention and imprisonment.

The only way to stop the destruction caused by family policing, Torn Apart argues, is to abolish the child welfare system and liberate Black communities. 

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.

Allow Me to Retort is an easily digestible argument about what rights we have, what rights Republicans are trying to take away, and how to stop them. Mystal explains how to protect the rights of women and people of color instead of cowering to the absolutism of gun owners and bigots. He explains the legal way to stop everything from police brutality to political gerrymandering, just by changing a few judges and justices. He strips out all of the fancy jargon conservatives like to hide behind and lays bare the truth of their project to keep America forever tethered to its slaveholding past.

Mystal brings his trademark humor, expertise, and rhetorical flair to explain concepts like substantive due process and the right for the LGBTQ community to buy a cake, and to arm readers with the knowledge to defend themselves against conservatives who want everybody to live under the yoke of eighteenth-century white men. The same tactics Mystal uses to defend the idea of a fair and equal society on MSNBC and CNN are in this book, for anybody who wants to deploy them on social media.

You don’t need to be a legal scholar to understand your own rights. You don’t need to accept the “whites only” theory of equality pushed by conservative judges. You can read this book to understand that the Constitution is trash, but doesn’t have to be.

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From her blog, “Adventures from the Bedrooms of African Women,” Nana Darkoa Sekyiamah has spent decades talking openly and intimately to African women around the world about sex. Here, she features the stories that most affected her, chronicling her own journey toward sexual freedom.

We meet Yami, a pansexual Canadian of Malawian heritage, who describes negotiating the line between family dynamics and sexuality. There’s Esther, a cis-gendered hetero woman studying in America, by way of Cameroun and Kenya, who talks of how a childhood rape has made her rebellious and estranged from her missionary parents. And Tsitsi, an HIV-positive Zimbabwean woman who is raising a healthy, HIV-free baby.

Across a queer community in Egypt, polyamorous life in Senegal, and a reflection on the intersection of religion and pleasure in Cameroun, Sekyiamah explores the many layers of love and desire, its expression, and how it forms who we are. In these confessional pages, women control their own bodies and pleasure, and assert their sexual power. Capturing the rich tapestry of sex positivity, The Sex Lives of African Women is a singular and subversive book that celebrates the liberation, individuality, and joy of African women’s multifaceted sexuality.

Spike Lee is a world-renowned, Academy Award-winning filmmaker, a cultural icon, and one of the most prominent voices on race and racism for more than three decades. His prolific career has included over 35 films, including his directorial debut She's Gotta Have It (1986), his seminal masterpiece Do the Right Thing (1989), and more recently, his Oscar-winning film BlacKkKlansman (2018). Spike Lee's provocative feature films, documentaries, commercials, and music videos, have shone the spotlight on significant stories and have made an indelible mark in both cinematic history and in contemporary society.

This career-spanning monograph titled SPIKE is a visual celebration of his life and career to date. The custom bold, typographic design is inspired by the LOVE/HATE brass rings that Radio Raheem wore in Do the Right Thing and that Spike Lee wore at the 2019 Academy Awards. The gold foil deboss on SPIKE on the vibrant fuchsia front cover is a bold and beautiful, eye-catching design. Featuring hundreds of never-before-seen photographs by David Lee, Spike's brother and long-time still photographer, SPIKE the book, includes behind-the-scenes, insider images that underscore his creative process and his significant impact on the culture at large. From his critically acclaimed film Malcolm X (1992) starring Denzel Washington, to his recent film Da 5 Bloods (2020) featuring the late Chadwick Boseman, Spike Lee's work continues to resonate now more than ever. Also included here are his beloved commercials with Michael Jordan for Nike, which helped launch the billion-dollar Jordan brand product empire, as well as his music videos with Prince and Michael Jackson. This is a must-have collector's item and ideal gift for any cinephile and fan of one of the most prominent and influential filmmakers in history.

A queer Black feminist debunks the myth of rainbow solidarity, repositioning Black and Latinx LGBTQ+ people at the forefront of queer pasts, presents, and futures

Your favorite Black queer studies professor Kaila Adia Story says the rainbow ain’t never been enough in this introduction to the current state of queer intersectionality, or lack thereof. Story argues that to be queer is to be political, and the carefully glittered façade of solidarity in the pride movement veils dangerous neoliberal ideals of apolitical queer embodiment. The rainbow as a symbol of communal solidarity is a hollow offering when cis white LGBTQ people are allowed to opt out of divesting from white supremacy, misogyny, and transphobia.

The Rainbow Ain’t Never Been Enuf fills a necessary gap in our understanding of how racism, transphobia, and antiblackness operate in liberal spaces. Black feminist and queer theorist Kaila Adia Story blends analysis, pop culture, and her lived experiences to explore the silencing practices of mainstream queer culture. She touches on cornerstone issues of the movement like

* the whitewashing of queer history and commodification of pride celebrations
* the appropriation of the Black and Latinx ball scene and culture
* the racialized and gendered violence inflicted upon Black trans women
* the exclusion of the lives and work of activists like Marsha P. Johnson, Sylvia Rivera, Stormé DeLarverie, and CeCe McDonald from queer history
* the lack of remembrance and respect for the lives of the Black and Lantinx queer and trans people who have always been on the frontlines of queer liberation

Expanding beyond the classroom, Story utilizes her expertise as a scholar of queer theory to offer readers a comprehensive understanding of how racism operates in these spaces and what we can do to create a more equitable future.

An Invitation to Community and Models for Connection

After almost every presentation activist and writer Mia Birdsong gives to executives, think tanks, and policy makers, one of those leaders quietly confesses how much they long for the profound community she describes. They have family, friends, and colleagues, yet they still feel like they're standing alone. They're "winning" at the American Dream, but they're lonely, disconnected, and unsatisfied.

It seems counterintuitive that living the "good life"--the well-paying job, the nuclear family, the upward mobility--can make us feel isolated and unhappy. But in a divided America, where only a quarter of us know our neighbors and everyone is either a winner or a loser, we've forgotten the key element that helped us make progress in the first place: community. In this provocative, groundbreaking work, Mia Birdsong shows that what separates us isn't only the ever-present injustices built around race, class, gender, values, and beliefs, but also our denial of our interdependence and need for belonging. In response to the fear and discomfort we feel, we've built walls, and instead of leaning on each other, we find ourselves leaning on concrete.

Through research, interviews, and stories of lived experience, How We Show Up returns us to our inherent connectedness where we find strength, safety, and support in vulnerability and generosity, in asking for help, and in being accountable. Showing up--literally and figuratively--points us toward the promise of our collective vitality and leads us to the liberated well-being we all want.

Langston Collin Wilkins returns to the city where he grew up to illuminate the complex relationship between place, identity, and music in Houston’s hip hop culture. Interviews with local rap artists, producers, and managers inform an exploration of how artists, audiences, music, and place interact to create a heritage that musicians negotiate in a variety of ways. Street-based musicians, avant-garde underground rappers, and Christian artists offer candid views of the scene while Wilkins delves into related aspects like slab, the area’s hip hop-related car culture. What emerges is a portrait of a dynamic reciprocal process where an artist, having identified with and embodied a social space, reproduces that space in a performance even as the performance reconstructs the social space.

A vivid journey through a southern hip hop bastion, Welcome 2 Houston offers readers an inside look at a unique musical culture.

In this groundbreaking book, therapist Resmaa Menakem examines the damage caused by racism in America from the perspective of trauma and body-centered psychology.

The body is where our instincts reside and where we fight, flee, or freeze, and it endures the trauma inflicted by the ills that plague society. Menakem argues this destruction will continue until Americans learn to heal the generational anguish of white supremacy, which is deeply embedded in all our bodies. Our collective agony doesn't just affect African Americans. White Americans suffer their own secondary trauma as well. So do blue Americans—our police.

My Grandmother's Hands is a call to action for all of us to recognize that racism is not only about the head, but about the body, and introduces an alternative view of what we can do to grow beyond our entrenched racialized divide.

• Paves the way for a new, body-centered understanding of white supremacy—how it is literally in our blood and our nervous system.
• Offers a step-by-step healing process based on the latest neuroscience and somatic healing methods, in addition to incisive social commentary.

Come celebrate the new essay collection, Dark Days: Fugitive Essays with National Book Award winner, Roger Reeves! 

EVENT DEETS

When: Friday, August 4 at 7 PM CST

Where: Kindred Stories Reading Garden

How:  RSVP ONLY to save your seat or RSVP with ticket to support the author or programming.

ABOUT THE BOOK

A crucial book that calls for community, solidarity, and joy, even in—especially in—these dark days

In his debut work of nonfiction, award-winning poet Roger Reeves finds new meaning in silence, protest, fugitivity, freedom, and ecstasy. Braiding memoir, theory, and criticism, Reeves juxtaposes the images of an opera singer breaking the state-mandated silence curfew by singing out into the streets of Santiago, Chile, and a father teaching his daughter to laugh out loud at the planes dropping bombs on them in Aleppo, Syria. He describes the history of the hush harbor—places where enslaved people could steal away to find silence and court ecstasy, to the side of their impossible conditions. In other essays, Reeves highlights a chapter in Toni Morrison’s Beloved to locate common purpose between Black and Indigenous peoples; he visits the realities of enslaved people on McLeod Plantation, where some of the descendants of those formerly enslaved lived into the 1990s; and he explores his own family history, his learning to read closely through the Pentecostal church tradition, and his passing on of reading as a pleasure, freedom, and solace to his daughter, who is frightened the police will gun them down.

Together, these groundbreaking essays build a profound vision for how to see and experience the world in our present moment, and how to strive toward an alternative existence in intentional community underground. “The peace we fight and search for,” Reeves writes, “begins and ends with being still.”

ABOUT THE AUTHOR

ROGER REEVES is the author of the poetry collections King Me and Best Barbarian. He is a recipient of a National Endowment for the Arts fellowship, a Ruth Lilly and Dorothy Sargent Rosenberg Fellowship from the Poetry Foundation, a 2015 Whiting Award, and Radcliffe Fellowship from Harvard University. His essays and poems have appeared in Poetry, the New Yorker, Granta, the Yale Review, and elsewhere. He lives in Austin, Texas.

ABOUT THE MODERATOR

An exuberant, opinionated, stereotype-busting portrait of contemporary Africa in all its splendid diversity, by one of its leading new writers.

So often, Africa has been depicted simplistically as a uniform land of famines and safaris, poverty and strife, stripped of all nuance. In this bold and insightful book, Dipo Faloyin offers a much-needed corrective, weaving a vibrant tapestry of stories that bring to life Africa’s rich diversity, communities, and histories.

Starting with an immersive description of the lively and complex urban life of Lagos, Faloyin unearths surprising truths about many African countries’ colonial heritage and tells the story of the continent’s struggles with democracy through seven dictatorships. With biting wit, he takes on the phenomenon of the white savior complex and brings to light the damage caused by charity campaigns of the past decades, revisiting such cultural touchstones as the KONY 2012 film. Entering into the rivalries that energize the continent, Faloyin engages in the heated debate over which West African country makes the best jollof rice and describes the strange, incongruent beauty of the African Cup of Nations. With an eye toward the future promise of the continent, he explores the youth-led cultural and political movements that are defining and reimagining Africa on their own terms.

The stories Faloyin shares are by turns joyful and enraging; proud and optimistic for the future even while they unequivocally confront the obstacles systematically set in place by former colonial powers. Brimming with humor and wit, filled with political insights, and, above all, infused with a deep love for the region, Africa Is Not a Country celebrates the energy and particularity of the continent’s different cultures and communities, treating Africa with the respect it deserves.

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Hundreds of stunning images from black history have long been buried in The New York Times archives. None of them were published by The Times -- until now. UNSEEN uncovers these never-before published photographs and tells the stories behind them.

It all started with Times photo editor Darcy Eveleigh discovering dozens of these photographs. She and three colleagues, Dana Canedy, Damien Cave and Rachel L. Swarns, began exploring the history behind them, and subsequently chronicling them in a series entitled Unpublished Black History, that ran in print and online editions of The Times in February 2016. It garnered 1.7 million views on The Times website and thousands of comments from readers. This book includes those photographs and many more, among them: a 27-year-old Jesse Jackson leading an anti-discrimination rally of in Chicago, Rosa Parks arriving at a Montgomery Courthouse in Alabama a candid behind-the-scenes shot of Aretha Franklin backstage at the Apollo Theater, Ralph Ellison on the streets of his Manhattan neighborhood, the firebombed home of Malcolm X, Myrlie Evans and her children at the funeral of her slain husband , Medgar, a wheelchair-bound Roy Campanella at the razing of Ebbets Field.

Were the photos -- or the people in them -- not deemed newsworthy enough? Did the images not arrive in time for publication? Were they pushed aside by words at an institution long known as the Gray Lady? Eveleigh, Canedy, Cave, and Swarms explore all these questions and more in this one-of-a-kind book.

UNSEEN dives deep into The Times photo archives -- known as the Morgue -- to showcase this extraordinary collection of photographs and the stories behind them.

A fascinating, first-person account of a historic era in the struggle for black empowerment in America.

Long an iconic figure for radicals, Huey Newton is now being discovered by those interested in the history of America's social movements. Was he a gifted leader of his people or a dangerous outlaw? Were the Black Panthers heroes or terrorists?

Whether Newton and the Panthers are remembered in a positive or a negative light, no one questions Newton's status as one of America's most important revolutionaries. To Die for the People is a recently issued classic collection of his writings and speeches, tracing the development of Newton's personal and political thinking, as well as the radical changes that took place in the formative years of the Black Panther Party.

With a rare and persuasive honesty, To Die for the People records the Party's internal struggles, rivalries and contradictions, and the result is a fascinating look back at a young revolutionary group determined to find ways to deal with the injustice it saw in American society. And, as a new foreword by Elaine Brown makes eminently clear, Newton's prescience and foresight make these documents strikingly pertinent today.

Huey Newton was the founder, leader and chief theoretician of the Black Panther Party, and one of America’s most dynamic and important revolutionary philosophers.

"Huey P. Newton's To Die for the People represents one of the most important analyses of the politics of race, black radicalism, and democracy written during the civil rights-Black Power era. It remains a crucial and indispensible text in our contemporary efforts to understand the continuous legacy of social movements of the 1960s and 1970s."
—Peniel Joseph, author of Waiting Til the Midnight Hour: A Narrative History of Black Power in America

"Huey P. Newton's name, and more importantly, his history of resistance and struggle, is little more than a mystery for many younger people. The name of a third-rate rapper is more familiar to the average Black youth, and that's hardly surprising, for the public school system is invested in ignorance, and Huey P. Newton was a rebel — and more, a Black Revolutionary . . . who gave his best to the Black Freedom movement; who inspired millions of others to stand."
—Mumia Abu Jamal, political prisoner and author of Jailhouse Lawyers

"Newton's ability to see theoretically, beyond most individuals of his time, is part of his genius. The opportunity to recognize that genius and see its applicability to our own times is what is most significant about this new edition."
—Robert Stanley Oden, former Panther, Professor of Government, California State University, Sacramento

The 1967 Arab–Israeli War rocketed the question of Israel and Palestine onto the front pages of American newspapers. Black Power activists saw Palestinians as a kindred people of color, waging the same struggle for freedom and justice as themselves. Soon concerns over the Arab–Israeli conflict spread across mainstream black politics and into the heart of the civil rights movement itself. Black Power and Palestine uncovers why so many African Americans―notably Martin Luther King, Jr., Malcolm X, and Muhammad Ali, among others―came to support the Palestinians or felt the need to respond to those who did.

Americans first heard pro-Palestinian sentiments in public through the black freedom struggle of the 1960s and 1970s. Michael R. Fischbach uncovers this hidden history of the Arab–Israeli conflict's role in African American activism and the ways that distant struggle shaped the domestic fight for racial equality. Black Power's transnational connections between African Americans and Palestinians deeply affected U.S. black politics, animating black visions of identity well into the late 1970s. Black Power and Palestine allows those black voices to be heard again today.

In chronicling this story, Fischbach reveals much about how American peoples of color create political strategies, a sense of self, and a place within U.S. and global communities. The shadow cast by events of the 1960s and 1970s continues to affect the United States in deep, structural ways. This is the first book to explore how conflict in the Middle East shaped the American civil rights movement.

Deep, trans-species lessons for a world in crisis.

Undrowned is a book-length meditation for social movements and our whole species based on the subversive and transformative guidance of marine mammals. Our aquatic cousins are queer, fierce, protective of each other, complex, shaped by conflict, and struggling to survive the extractive and militarized conditions our species has imposed on the ocean. Gumbs employs a brilliant mix of poetic sensibility and naturalist observation to show what they might teach us, producing not a specific agenda but an unfolding space for wondering and questioning. From the relationship between the endangered North Atlantic Right Whale and Gumbs’s Shinnecock and enslaved ancestors to the ways echolocation changes our understandings of “vision” and visionary action, this is a masterful use of metaphor and natural models in the service of social justice.

The first book to center Black artists' voices on Black aesthetics, revealing a century of evolving relationships to race, identity, and art.
 
What is Black art? No one has thought harder about that question than Black artists, yet their perspectives have been largely ignored. Instead, their stories have been told by intellectuals like W. E. B. Du Bois and Alain Locke, who defined "a school" of Black art in the early twentieth century. For the first time, Black Artists in Their Own Words offers an insightful corrective.
 
Esteemed art historian Lisa Farrington gathers writing spanning a century across the United States, the Caribbean, and the African continent—including from renowned artists Henry Tanner, Nancy Elizabeth Prophet, Romare Bearden, Wifredo Lam, Renee Cox, and many more—that reveals both evolutions and equivocations. Many artists, especially during the civil rights era, have embraced Black aesthetics as a source of empowerment. Others prefer to be artists first and Black second, while some have rejected racial identification entirely. Here, Black artists reclaim their work from reductive critical narratives, sharing the motivations underlying their struggles to create in a white-dominated art world.

From the author of the New York Times bestseller Begin Again, a politically astute, lyrical meditation on how ordinary people can shake off their reliance on a small group of professional politicians and assume responsibility for what it takes to achieve a more just and perfect democracy.

“Like attending a jazz concert with all of one’s favorite musicians…James Baldwin, Martin Luther King, Jr., Malcolm X, Ella Baker, Toni Morrison, and more…Glaude brilliantly takes us on an epic tour through their lives and work.”
―Henry Louis Gates, Jr., author of The Black Box: Writing the Race

We are more than the circumstances of our lives, and what we do matters. In We Are the Leaders We Have Been Looking For, one of the nation’s preeminent scholars and a New York Times bestselling author, Eddie S. Glaude Jr., makes the case that the hard work of becoming a better person should be a critical feature of Black politics. Through virtuoso interpretations of Martin Luther King, Jr., Malcolm X, and Ella Baker, Glaude shows how we have the power to be the heroes that our democracy so desperately requires.

Based on the Du Bois Lectures delivered at Harvard University, the book begins with Glaude’s unease with the Obama years. He felt then, and does even more urgently now, that the excitement around the Obama presidency constrained our politics as we turned to yet another prophet-like figure. He examines his personal history and the traditions that both shape and overwhelm his own voice.

Glaude weaves anecdotes about his evolving views on Black politics together with the writings of Ralph Waldo Emerson, John Dewey, Toni Morrison, James Baldwin, and Ralph Ellison, encouraging us to reflect on the lessons of these great thinkers and address imaginatively the challenges of our day in voices uniquely our own.

Narrated with passion and philosophical intensity, this book is a powerful reminder that if American democracy is to survive, we must step out from under the shadows of past giants to build a better society―one that derives its strength from the pew, not the pulpit.

A landmark study that shows how Black residents experience and respond to the rapid transformation of historically Black places.

Although Portland, Oregon, is sometimes called “America’s Whitest city,” Black residents who grew up there made it their own. The neighborhoods of Northeast Portland, also called “Albina,” were a haven for and a hub of Black community life. But between 1990 and 2010, Albina changed dramatically—it became majority White.

In We Belong Here, sociologist Shani Adia Evans offers an intimate look at gentrification from the inside, documenting the reactions of Albina residents as the racial demographics of their neighborhood shift. As White culture becomes centered in Northeast, Black residents recount their experiences with what Evans refers to as “White watching,” the questioning look on the faces of White people they encounter, which conveys an exclusionary message: “What are you doing here?” This, Evans shows, is a prime example of what she calls “White spacemaking”: the establishment of White space—spaces in which Whiteness is assumed to be the norm and non-Whites are treated with suspicion—in formerly non-White neighborhoods. Evans also documents Black residents’ efforts to create and maintain places for Black belonging in White-dominated Portland. While gentrification typically describes socioeconomic changes that may have racial implications, White spacemaking allows us to understand racism as a primary mechanism of neighborhood change. We Belong Here illuminates why gentrification and White spacemaking should be examined as intersecting, but not interchangeable, processes of neighborhood change.

Pennsylvania State Senator Nikil Saval tells the story of an unlikely partnership between June Jordan and R. Buckminster Fuller, and their attempt to reimagine Harlem in the wake of the 1964 riots.

In the tense days leading up to the 2020 American elections, then-candidate for Pennsylvania State Senate Nikil Saval addressed a virtual audience at the Harvard GSD to tell a story about Black feminist writer June Jordan and a little-known project that resulted from the aftermath of the 1964 Harlem riot. The events of police brutality and community grieving made a lasting impression on Jordan, who, while known for her work as a poet, playwright, and activist, responded with a proposal for a multiple-tower housing design. Through an unlikely partnership with R. Buckminster Fuller, Jordan’s “Skyrise for Harlem” project offered a Futuristic vision for Harlem that argued for environmental redesign: “it is architecture, conceived of in its fullest meaning as the creation of environment, which may actually determine the pace, pattern, and quality of living experience.”
 
Jordan was not an architect in the conventional sense, Saval says. “But in the understanding of someone who sought to propose and build interventions in public space, she was.”

A clinical psychologist tells his story of navigating the field of psychology as a gay Black man.

In How I Know White People Are Crazy and Other Stories, Dr. Jonathan Lassiter pulls back the curtain on the mental health system and reveals the hurdles that Black psychologists and students are forced to endure in the field. He tackles how white ideology has harmed Black patients and how it dominates America’s mental health practices. 

As a Black gay man working as a psychologist under culturally insensitive supervisors and colleagues in America, he grows more frustrated with the exclusive talk of Sigmund Freud, and the narrowness of psychology study, with no one like him to vent to. All this takes a mental and physical toll on him.   

Using his expertise in research, his own therapy, and keeping a healthy dose of hip-hop/R&B music in his ears, Dr. Lassiter discovered a way where we can center culture in our healing. Through a series of essays, he demands that the lived and cultural experiences of people of color, LGBTQ+, and disabled communities are made a part of psychology practices so that we can understand, live in, and navigate this frustrating world.

This thought provoking, funny, and searing indictment of the mental health system for patients, students, and professionals alike will leave you thinking differently about the psychologists in your life.

A groundbreaking look at how Black visionaries—from Wall Street to Lagos and beyond—are reimagining capitalism to benefit the needs of Black people and, ultimately, everyone.

“Black Capitalists is a dive into the history of how money is made and our attitudes about wealth. A must read.”—Vanessa Williams, singer, actress, author, producer, and former Miss America

To many, the term “Black Capitalists” is oxymoronic. Black people were the labor force that built the infrastructure of American capitalism through the violent enforcement of legalized slavery, so they cannot, and should not, aspire to be the beneficiaries of it. But Wall Street professional and Yale-educated anthropologist Dr. Rachel Laryea poses a provocative question: What if there was a way to thrive within capitalism without diminishing someone else’s life chances through exploitative practices? There is—and Black Capitalists are showing us how.

Told through Dr. Laryea's own compelling narrative—growing up the child of a single mother who immigrated to the United States from Ghana and rose to the Ivy League and on Wall Street—with original on-the-ground reporting and rigorous historical analysis, Black Capitalists challenges readers to reconsider who gets to be the beneficiary of capitalism and reckons with the responsibility that comes with using the tools of our imperfect economic system to advance social good.

Dr. Laryea reveals in detail how race profoundly shapes the way we participate in capitalism—and how understanding these differences can guide us toward a more inclusive and equitable future. From newly minted undergraduates who find themselves working twenty-hour days to prove their worth on Wall Street to Nigerian startup founders working to build global credit scores, spanning the streets of Accra to the boardrooms of Goldman Sachs, Black Capitalists’ stories and analysis of innovators who are as ambitious as they are altruistic demonstrate the resilience, creativity, and ingenuity of Black people who have long been excluded from the full benefits of the American economic system. At its core, Black Capitalists shows a more productive, and more inclusive, way forward.

E. Patrick Johnson's Honeypot opens with the fictional trickster character Miss B. barging into the home of Dr. EPJ, informing him that he has been chosen to collect and share the stories of her people. With little explanation, she whisks the reluctant Dr. EPJ away to the women-only world of Hymen, where she serves as his tour guide as he bears witness to the real-life stories of queer Black women throughout the American South. The women he meets come from all walks of life and recount their experiences on topics ranging from coming out and falling in love to mother/daughter relationships, religion, and political activism. As Dr. EPJ hears these stories, he must grapple with his privilege as a man and as an academic, and in the process he gains insights into patriarchy, class, sex, gender, and the challenges these women face. Combining oral history with magical realism and poetry, Honeypot is an engaging and moving book that reveals the complexity of identity while offering a creative method for scholarship to represent the lives of other people in a rich and dynamic way.

*Paperback Release Date - 6/23/2026*

The New York Times-bestselling, National Book Award-nominated author of The Love Songs of W.E.B. Du Bois and The Age of Phillis makes her nonfiction debut with this personal and thought-provoking work that explores the journeys and possibilities of Black women throughout American history and in contemporary times.

Honorée Fanonne Jeffers is at a crossroads.

Traditional African/Black American cultures present the crossroads as a place of simultaneous difficulty and possibility. In contemporary times, Kimberlé Crenshaw coined the phrase “intersectionality” to explain the unique position of Black women in America. In many ways, they are at a third crossroads: attempting to fit into notions of femininity and respectability primarily assigned to White women, while inventing improvisational strategies to combat oppression.

In Misbehaving at the Crossroads, Jeffers explores the emotional and historical tensions in Black women’s public lives and her own private life. She charts voyages of Black girlhood to womanhood and the currents buffeting these journeys, including the difficulties of racially gendered oppression, the challenges of documenting Black women’s ancestry; the adultification of Black girls; the irony of Black female respectability politics; the origins of Womanism/Black feminism; and resistance to White supremacy and patriarchy. As Jeffers shows with empathy and wisdom, naming difficult historical truths represents both Blues and transcendence, a crossroads that speaks.

Necessary and sharply observed, provocative and humane, and full of the insight and brilliance that has characterized her poetry and fiction, Misbehaving at the Crossroads illustrates the life of one extraordinary Black woman—and her extraordinary foremothers.

A bold reconsideration of Hoodoo belief and practice

Katrina Hazzard-Donald explores African Americans' experience and practice of the herbal, healing folk belief tradition known as Hoodoo. She examines Hoodoo culture and history by tracing its emergence from African traditions to religious practices in the Americas. Working against conventional scholarship, Hazzard-Donald argues that Hoodoo emerged first in three distinct regions she calls "regional Hoodoo clusters" and that after the turn of the nineteenth century, Hoodoo took on a national rather than regional profile. The spread came about through the mechanism of the "African Religion Complex," eight distinct cultural characteristics familiar to all the African ethnic groups in the United States.

The first interdisciplinary examination to incorporate a full glossary of Hoodoo culture, Mojo Workin': The Old African American Hoodoo System lays out the movement of Hoodoo against a series of watershed changes in the American cultural landscape. Hazzard-Donald examines Hoodoo material culture, particularly the "High John the Conquer" root, which practitioners employ for a variety of spiritual uses. She also examines other facets of Hoodoo, including rituals of divination such as the "walking boy" and the "Ring Shout," a sacred dance of Hoodoo tradition that bears its corollaries today in the American Baptist churches. Throughout, Hazzard-Donald distinguishes between "Old tradition Black Belt Hoodoo" and commercially marketed forms that have been controlled, modified, and often fabricated by outsiders; this study focuses on the hidden system operating almost exclusively among African Americans in the Black spiritual underground.

Ten years ago, bell hooks astonished readers with Teaching to Transgress: Education as the Practice of Freedom. Now comes Teaching Community: A Pedagogy of Hope - a powerful, visionary work that will enrich our teaching and our lives. Combining critical thinking about education with autobiographical narratives, hooks invites readers to extend the discourse of race, gender, class and nationality beyond the classroom into everyday situations of learning. bell hooks writes candidly about her own experiences. Teaching, she explains, can happen anywhere, any time - not just in college classrooms but in churches, in bookstores, in homes where people get together to share ideas that affect their daily lives.

In Teaching Community bell hooks seeks to theorize from the place of the positive, looking at what works. Writing about struggles to end racism and white supremacy, she makes the useful point that "No one is born a racist. Everyone makes a choice." Teaching Community tells us how we can choose to end racism and create a beloved community. hooks looks at many issues-among them, spirituality in the classroom, white people looking to end racism, and erotic relationships between professors and students. Spirit, struggle, service, love, the ideals of shared knowledge and shared learning - these values motivate progressive social change.

Teachers of vision know that democratic education can never be confined to a classroom. Teaching - so often undervalued in our society -- can be a joyous and inclusive activity. bell hooks shows the way. "When teachers teach with love, combining care, commitment, knowledge, responsibility, respect, and trust, we are often able to enter the classroom and go straight to the heart of the matter, which is knowing what to do on any given day to create the best climate for learning."

Blood In My Eye was completed only days before it's author was killed. George Jackson died on August 21, 1971 at the hands of San Quentin prison guards during an alleged escape attempt. At eighteen, George Jackson was convicted of stealing seventy dollars from a gas station and was sentenced from one year to life. He was to spent the rest of his life -- eleven years-- in the California prison system, seven in solidary confinement. In prison he read widely and transformed himself into an activist and political theoretician who defined himself as a revolutionary.

Charts the changing dynamics of religion and spirituality among African Americans

Recent decades have ushered in a profound transformation within the American religious landscape, characterized by an explosion of religious diversification and individualism as well as a rising number of “nones.” The Contemporary Black Church makes the case that the story of this changing religious landscape needs to be told incorporating more data as it applies specifically to African Americans.

Jason E. Shelton draws from survey data as well as interviews with individuals from a wide variety of religious backgrounds to argue that social reforms and the resulting freedoms have paved the way for a pronounced diversification among African Americans in matters of faith. Many African Americans have switched denominational affiliations within the Black Church, others now adhere to historically White traditions, and a record number of African Americans have left organized religion altogether in recent decades. These changing demographics and affiliations are having a real and measurable effect on American politics, particularly as members of the historic Black Church are much more likely than those of other faiths to vote and to strongly support government policies aimed at bridging the racial divide.

Though not the first work to note that African Americans are not monolithic in their religious affiliation, or to argue that there is a trend toward secularism in Black America, this book is the first to substantiate these claims with extensive empirical data, charting these changing dynamics and their ramifications for American society and politics.