The essential, sweeping story of Juneteenth’s integral importance to American history, as told by a Pulitzer Prize–winning historian and Texas native.

Weaving together American history, dramatic family chronicle, and searing episodes of memoir, Annette Gordon-Reed’s On Juneteenth provides a historian’s view of the country’s long road to Juneteenth, recounting both its origins in Texas and the enormous hardships that African-Americans have endured in the century since, from Reconstruction through Jim Crow and beyond. All too aware of the stories of cowboys, ranchers, and oilmen that have long dominated the lore of the Lone Star State, Gordon-Reed—herself a Texas native and the descendant of enslaved people brought to Texas as early as the 1820s—forges a new and profoundly truthful narrative of her home state, with implications for us all.

A moving picture book about the history of Emancipation Park in Houston, Texas—and the origins of Juneteenth.

When people visit me, they are free—to run, play, gather, and rejoice.

They built me to remember.

On June 19, 1865, the 250,000 enslaved people of Texas learned they were free, ending slavery in the United States. This day was soon to be memorialized with the dedication of a park in Houston. The park was called Emancipation Park, and the day it honored would come to be known as Juneteenth.  

In the voice and memory of the park itself—its fields and pools, its protests and cookouts, and, most of all, its people—the 150-year story of Emancipation Park is brought to life. Through lyrical text and vibrant artwork, Tonya Duncan Ellis and Jenin Mohammed have crafted an ode to the struggle, triumph, courage, and joy of Black America—and the promise of a people to remember.

A lyrical picture book about our newest national holiday, Juneteenth follows the annual celebration in Galveston, Texas—the birthplace of Juneteenth—through the eyes of a child coming to understand their place in Black American history in a story from three Texan creators.

A young Black child experiences the magic of the Juneteenth parade for the first time with their family as they come to understand the purpose of the party that happens every year—and why they celebrate their African American history!

The poetic text includes selected lyrics from “Lift Every Voice and Sing,” the unofficial Black National Anthem, and the vibrant art illuminates the beauty of this moment of Black joy celebrated across the nation. This vibrant adventure through the city streets invites young readers to make a joyful noise about freedom for all.

The true story of Black activist Opal Lee and her vision of Juneteenth as a holiday for everyone celebrates Black joy and inspires children to see their dreams blossom. Growing up in Texas, Opal knew the history of Juneteenth, but she soon discovered that many Americans had never heard of the holiday that represents the nation's creed of "freedom for all."

Every year, Opal looked forward to the Juneteenth picnic--a drumming, dancing, delicious party. She knew from Granddaddy Zak's stories that Juneteenth celebrated the day the freedom news of President Lincoln's Emancipation Proclamation finally sailed into Texas in 1865--over two years after the president had declared it! But Opal didn't always see freedom in her Texas town. Then one Juneteenth day when Opal was twelve years old, an angry crowd burned down her brand-new home. This wasn't freedom at all. She had to do something! Opal Lee spent the rest of her life speaking up for equality and unity. She became a teacher, a charity worker, and a community leader. At the age of 89, she walked from Fort Worth, Texas to Washington, D.C., in an effort to gain national recognition for Juneteenth.

Through the story of Opal Lee's determination and persistence, children ages 4 to 8 will learn:

• all people are created equal
• the power of bravery and using your voice for change
• the history of Juneteenth, or Freedom Day, and what it means today
• no one is free unless everyone is free
• fighting for a dream is worth every difficulty

Featuring the illustrations of New York Times bestselling illustrator Keturah A. Bobo (I am Enough), Opal Lee and What It Means to Be Free celebrates the life and legacy of a modern-day Black leader while sharing a message of hope, unity, joy, and strength.

Why is less than 1% of rural land in the U.S. owned by Black people? An acclaimed writer and activist explores the impact of land theft and violent displacement on racial wealth gaps, arguing that justice stems from the literal roots of the earth.

“With heartfelt prose and unyielding honesty, Baker explores the depths of her roots and invites readers to reflect on our own.”—Donovan X. Ramsey, author of the National Book Award for Nonfiction semi-finalist When Crack Was King

To understand the contemporary racial wealth gap, we must first unpack the historic attacks on Indigenous and Black land ownership. From the moment that colonizers set foot on Virginian soil, a centuries-long war was waged, resulting in an existential dilemma: Who owns what on stolen land? Who owns what with stolen labor? To answer these questions, we must confront one of this nation’s first sins: stealing, hoarding, and commodifying the land.

Research suggests that between 1910 and 1997, Black Americans lost about 90% of their farmland. Land theft widened the racial wealth gap, privatized natural resources, and created a permanent barrier to access that should be a birthright for Black and Indigenous communities. Rooted traces the experiences of Brea Baker’s family history of devastating land loss in Kentucky and North Carolina, identifying such violence as the root of persistent inequality in this country. Ultimately, her grandparents’ commitment to Black land ownership resulted in the Bakers Acres—a haven for the family where they are sustained by the land, surrounded by love, and wholly free.

A testament to the Black farmers who dreamed of feeding, housing, and tending to their communities, Rooted bears witness to their commitment to freedom and reciprocal care for the land. By returning equity to a dispossessed people, we can heal both the land and our nation’s soul.

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Afro-Atlantic Histories brings together a selection of more than 400 works and documents by more than 200 artists from the 16th to the 21st centuries that express and analyze the ebbs and flows between Africa, the Americas, the Caribbean and Europe. The book is motivated by the desire and need to draw parallels, frictions and dialogues around the visual cultures of Afro-Atlantic territories―their experiences, creations, worshiping and philosophy. The so-called Black Atlantic, to use the term coined by Paul Gilroy, is geography lacking precise borders, a fluid field where African experiences invade and occupy other nations, territories and cultures.
The plural and polyphonic quality of “histórias” is also of note; unlike the English “histories,” the word in Portuguese carries a double meaning that encompasses both fiction and nonfiction, personal, political, economic and cultural, as well as mythological narratives.
The book features more than 400 works from Africa, the Americas and the Caribbean, as well as Europe, from the 16th to the 21st century. These are organized in eight thematic groupings: Maps and Margins; Emancipations; Everyday Lives; Rites and Rhythms; Routes and Trances; Portraits; Afro Atlantic Modernisms; Resistances and Activism.
Artists include: Nina Chanel Abney, Emma Amos, Benny Andrews, Emanoel Araujo, Maria Auxiliadora, Romare Bearden, John Biggers, Paul Cézanne, Victoria Santa Cruz, Beauford Delaney, Aaron Douglas, Melvin Edwards, Ibrahim El-Salahi, Ben Enwonwu, Ellen Gallagher, Theodore Géricault, Barkley Hendricks, William Henry Jones, Loïs Mailou Jones, Titus Kaphar, Wifredo Lam, Norman Lewis, Ibrahim Mahama, Edna Manley, Archibald Motley, Abdias Nascimento, Gilberto de la Nuez, Toyin Ojih Odutola, Dalton Paula, Rosana Paulino, Howardena Pindell, Heitor dos Prazeres, Joshua Reynolds, Faith Ringgold, Gerard Sekoto, Alma Thomas, Hank Willis Thomas, Rubem Valentim, Kara Walker and Lynette Yiadom-Boakye.

The best-selling classic about a mixed-race child in the Civil War–era South that “chronicles the triumph of a free spirit over many kinds of bondage” (New York Times Book Review).

Jubilee tells the true story of Vyry, the child of a white plantation owner and his black mistress. Vyry bears witness to the antebellum South in both its opulence and its brutality, its wartime ruin, and the promises of Reconstruction.

Weaving her own family’s oral history with thirty years of research, Margaret Walker brings the everyday experiences of slaves to light in a novel that churns with the hunger, the hymns, the struggles, and the very breath of American history.

“A revelation.”—Milwaukee Journal

Includes a Foreword by Nikki Giovanni

Reared in Houston (Freedmen’s Town), Texas, Emmett J. Scott was a journalist, newspaper editor, government official, author, and chief of staff, adviser, and ghostwriter to Booker T. Washington. Called “the power broker of the Tuskegee Machine,” Scott was a Renaissance man, scholar, and political fixer. However, his life has not received a full examination until now.

Built upon fifty years of research, Maceo C. Dailey’s Emmett J. Scott offers fascinating detail by describing Scott’s role in promoting the Tuskegee Institute. Before his 2015 death, Dailey had nearly singular access to the Scott papers at Morgan State University, which have been officially closed for decades. Readers will finally be exposed to Scott’s behind-the-scenes contributions to racial uplift and will see his influential role in advancing not only the Tuskegee Institute but also the Booker T. Washington agenda.

Editors Will Guzmán and David H. Jackson Jr. lend their own expertise in bringing Dailey’s lifetime project to fruition. Two-time Pulitzer Prize–winning historian David Levering Lewis, a close friend of Dailey’s, provides a timely foreword. Former Black Panther Party chairwoman Elaine Brown, Scott’s granddaughter, reflects on his impact and her relationship with the Scott family in the afterword.

Taken together, this work of biography is an impressive reference and an essential endeavor of recovery, one that restores to prominence the life and legacy of Emmett J. Scott.

Tucked in a bend of the Trinity River a few minutes from downtown Fort Worth, the Garden of Eden neighborhood has endured for well over a century as a homeplace for freed African American slaves and their descendants.

Among the earliest inhabitants in the Garden, Major and Malinda Cheney assembled over 200 acres of productive farmland on which they raised crops and cattle, built a substantial home for their children, and weathered a series of family crises that ranged from a false accusation of rape and attempted lynching to the murder of their eldest son.

Major and Malinda Cheney’s great-great-grandson, Drew Sanders, recounts engaging tales of the family’s life against the backdrop of Fort Worth and Tarrant County history—among them stories about the famous family Sunday dinners (recipes included).

Though some family members, including writer Bob Ray Sanders and transplant specialist Dollie Gentry, no longer live in this special place, life in the Garden of Eden still shapes the family’s character and binds them to the homeplace.

The Afro-Latin@ Reader focuses attention on a large, vibrant, yet oddly invisible community in the United States: people of African descent from Latin America and the Caribbean. The presence of Afro-Latin@s in the United States (and throughout the Americas) belies the notion that Blacks and Latin@s are two distinct categories or cultures. Afro-Latin@s are uniquely situated to bridge the widening social divide between Latin@s and African Americans; at the same time, their experiences reveal pervasive racism among Latin@s and ethnocentrism among African Americans. Offering insight into Afro-Latin@ life and new ways to understand culture, ethnicity, nation, identity, and antiracist politics, The Afro-Latin@ Reader presents a kaleidoscopic view of Black Latin@s in the United States. It addresses history, music, gender, class, and media representations in more than sixty selections, including scholarly essays, memoirs, newspaper and magazine articles, poetry, short stories, and interviews.

While the selections cover centuries of Afro-Latin@ history, since the arrival of Spanish-speaking Africans in North America in the mid-sixteenth-century, most of them focus on the past fifty years. The central question of how Afro-Latin@s relate to and experience U.S. and Latin American racial ideologies is engaged throughout, in first-person accounts of growing up Afro-Latin@, a classic essay by a leader of the Young Lords, and analyses of U.S. census data on race and ethnicity, as well as in pieces on gender and sexuality, major-league baseball, and religion. The contributions that Afro-Latin@s have made to U.S. culture are highlighted in essays on the illustrious Afro-Puerto Rican bibliophile Arturo Alfonso Schomburg and music and dance genres from salsa to mambo, and from boogaloo to hip hop. Taken together, these and many more selections help to bring Afro-Latin@s in the United States into critical view.

Contributors: Afro–Puerto Rican Testimonies Project, Josefina Baéz, Ejima Baker, Luis Barrios, Eduardo Bonilla-Silva, Adrian Burgos Jr., Ginetta E. B. Candelario, Adrián Castro, Jesús Colón, Marta I. Cruz-Janzen, William A. Darity Jr., Milca Esdaille, Sandra María Esteves, María Teresa Fernández (Mariposa), Carlos Flores, Juan Flores, Jack D. Forbes, David F. Garcia, Ruth Glasser, Virginia Meecham Gould, Susan D. Greenbaum, Evelio Grillo, Pablo “Yoruba” Guzmán, Gabriel Haslip-Viera, Tanya K. Hernández, Victor Hernández Cruz, Jesse Hoffnung-Garskof, Lisa Hoppenjans, Vielka Cecilia Hoy, Alan J. Hughes, María Rosario Jackson, James Jennings, Miriam Jiménez Román, Angela Jorge, David Lamb, Aida Lambert, Ana M. Lara, Evelyne Laurent-Perrault, Tato Laviera, John Logan, Antonio López, Felipe Luciano, Louis Pancho McFarland, Ryan Mann-Hamilton, Wayne Marshall, Marianela Medrano, Nancy Raquel Mirabal, Yvette Modestin, Ed Morales, Jairo Moreno, Marta Moreno Vega, Willie Perdomo, Graciela Pérez Gutiérrez, Sofia Quintero, Ted Richardson, Louis Reyes Rivera, Pedro R. Rivera , Raquel Z. Rivera, Yeidy Rivero, Mark Q. Sawyer, Piri Thomas, Silvio Torres-Saillant, Nilaja Sun, Sherezada “Chiqui” Vicioso, Peter H. Wood

PRE-ORDER.  ON SALE DATE: April 22, 2025

The New York Times bestselling author of This Will Be My Undoing and Caul Baby returns with an epic, multi-generational novel that illuminates the legacy of slavery and the power of romantic love.

Harlem, 2019. Ardelia and Oliver are hosting their engagement party. As the guests get ready to leave, he hands her a love letter on a yellowing, crumbling piece of paper . . .

Natchez, 1865. Discharged from the Union Army as a free man after the war’s end, Harrison returns to Mississippi to reunite with the woman he loves, Tirzah. Upon his arrival at the Freedmen’s Bureau, though, he catches the eye of a woman working there, who’s determined to thwart his efforts to find his beloved. After tragedy strikes, Harrison resigns himself to a life with her. 

Meanwhile in Louisiana, the newly free Tirzah is teaching at a freedmen’s school, and discovers an advertisement in the local paper looking for her. Though she knows Harrison must have placed it, and longs to find him, the risks of fleeing are too great, and Tirzah chooses the life of seeming security right in front of her.

Spanning over a hundred and fifty years, Morgan Jerkins’s extraordinary novel intertwines the stories of these star-crossed lovers and their descendants. As Tirzah's family moves across the country during the Great Migration, they challenge authority with devastating consequences, while of the legacy of heartbreak and loss continues on in the lives of Harrison's progeny.

When Ardelia meets Oliver, she finds his family’s history is as full of secrets and omissions as her own. Could their connection be a cosmic reconciliation satisfying the unfulfilled desires of their ancestors, or will the weight of the past, present and future tear them apart?

Sweeping, textured, and meticulously researched, Zeal is both a story of how one generation’s choices reverberate through the years and an indelible portrait of an enduring love.

The Water Cries represents an ambitious search for the location of the slave auction houses in one of America’s most storied cities. The author plumbs historical documentation, sifting historical advertisements and archiving familial connections.

The book is a history told by grandmothers and grandfathers. It addresses a history previously told under a different light or never told at all. These are the tales of an heir of the previously enslaved, tales of images seen and unseen, the voices of the mystical. The Water Cries represents a contribution to the telling of the long-ignored truths of Galveston’s central role in the untenable trade of human souls, slavery.

The book is divided into three sections: before Emancipation (1840–1865); after Emancipation (1865–1940); and concrete suggestions for Galveston moving forward. This latter section involves giving faces and names to the voices we hear, the creation of a historical district, and the borrowing of other communities’ progress.

The Water Cries is a contribution to the rest of us also, particularly as we continue to grapple with what W. E. B. Du Bois described as America’s unique problem, the color line.