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Offering a revolution in Black business financing, this book centers the entrepreneur and responds to the systemic failures surrounding Black wealth building.

There is a huge racial wealth gap in America today. Owning a business is one of the best ways to build wealth—but entrepreneurs need capital. And investing in Black companies is obstructed by systemic racism and implicit biases that continue to create barriers to success.

Merging historical information and data, along with tactical examples and explanations, this practical guide shows us what needs to be done in order to change the way we support Black companies and how we think about wealth.

Norwood calls for investors to move away from extractive, individualistic, exploitative approaches to capital and entrepreneurship. She asks us to move toward transformational, restorative, regenerative, and interdependent relationships to repair the impacts of systemic racism. Investors, large and small, need to say to Black business owners, “we believe in you.”

With an entrepreneur-centric approach, Believe-In-You Money challenges the system failure surrounding Black companies. It’s a guide on how Black entrepreneurs can be supported in sustainable ways and offers a shift in the way we think about who can be an investor, while aiming to change our personal relationships with money.

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

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

A moving, unflinching memoir of hard-won success, struggles with addiction, and a lifelong mission to give back—from the late, iconic actor beloved for his roles in The Wire, Boardwalk Empire, and Lovecraft Country

When Michael K. Williams died on September 6, 2021, he left behind a career as one of the most electrifying actors of his generation. From his star turn as Omar Little in The Wire to Chalky White in Boardwalk Empire to Emmy-nominated roles in HBO’s The Night Of and Lovecraft County, Williams created a slew of indelible characters that he portrayed with a rawness and vulnerability that leapt off the screen. Beyond the nominations and acclaim, Williams played characters who connected, whose humanity couldn’t be denied, whose stories were too often left out of the main narrative.
 
At the time of his death, Williams had nearly finished a memoir that told the story of his past while looking to the future, a book that merged his life and his life’s work. Mike, as his friends knew him, was so much more than an actor. In Scenes from My Life, he traces his life in whole, from his childhood in East Flatbush, his battles with addiction, and his early years as a dancer to the bar fight that left his face with his distinguishing scar. He was a committed Brooklyn resident and activist who dedicated his life to working with community and social justice organizations, especially at-risk youth, to find their voice and carve out their future. Williams worked to keep the spotlight on those he fought for and with, whom he believed in and committed to with his whole heart.
 
With poignance and raw honesty, Scenes from My Life is the story of a performer who gave his all to everything he did—in his own voice, in his own words, as only he could.

A wise and beautifully designed collection of poetry, essays, and meditations meant to guide the reader into reflecting on the periods of unfolding in their own lives.

In order to let something in,

you have to let some things go

In order to heal, you must hurt,

In order to grow, you will experience discomfort

and all of this is to make more room for hope

less room for perfectionism and more room for simply being.

Less room for answers,

more room for questions with integrity

for mystery and wonder that leads you somewhere new

not right or wrong, good or bad

This is the Unfolding

The Unfolding is a gateway to change that gives you permission to breathe, change, and grow. Arielle Estoria shares the story of her own transformation in poems that were birthed from seasons of hurt and discomfort—from single to engaged, from Baptist pastor’s kid to student and explorer of the wonder and unanswered aspects of faith, from broken to restored—as she became the person she was meant to be.

The process of unfolding happens over and over again, helping you to grow, to expand, to peel away the layers of who you’ve been, mesh them with who you will be, and step into the fullness and wholeness of who you are.

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What would it look like if women built a lectionary focusing on women’s stories?

What does it look like to tell the good news through the stories of women who are often on the margins of scripture and often set up to represent bad news? How would a lectionary centering women’s stories, chosen with womanist and feminist commitments in mind, frame the presentation of the scriptures for proclamation and teaching?

The scriptures are androcentric, male-focused, as is the lectionary that is dependent upon them. As a result, many congregants know only the biblical men's stories told in the Sunday lectionary read in their churches. A more expansive, more inclusive lectionary will remedy that by introducing readers and hearers of scripture to “women's stories” in the scriptures.

A Women’s Lectionary for the Whole Church, when completed, will be a three-year lectionary accompanied by a stand-alone single year lectionary, Year W, that covers all four gospels.

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From ongoing reports of police brutality to the disproportionate impact COVID-19 has had on Black Americans, 2020 brought a renewed awareness to the deep-rootedness of racism and white supremacy in every facet of American life.

Edited by Anna Gifty Opoku-Agyeman, The Black Agenda is the first book of its kind―a bold and urgent move towards social justice through a profound collection of essays featuring Black scholars and experts across economics, education, health, climate, and technology. It speaks to the question "What's next for America?" on the subjects of policy-making, mental health, artificial intelligence, climate movement, the future of work, the LGBTQ community, the criminal legal system, and much more.

Essayists including Dr. Sandy Darity, Dr. Hedwig Lee, Mary Heglar, and Janelle Jones present groundbreaking ideas ranging from Black maternal and infant health to reparations to AI bias to inclusive economic policy, with the potential to uplift and heal not only Black America, but the entire country.

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With exclusive backstage stories from its legendary dancers and staff, and unprecedented access to its archives, Dance Theatre of Harlem is a striking chronicle of the company's amazing history, its fascinating daily workings, and the visionaries who made its legacy. Here you’ll discover how the company’s founders—African-American maestro Arthur Mitchell of George Balanchine’s New York City Ballet, and Nordic-American Karel Shook of The Dutch National Ballet--created timeless works that challenged Eurocentric mainstream ballet head-on—and used new techniques to examine ongoing issues of power, beauty, myth, and the ever-changing definition of art itself.
 
Gaining prominence in the 1970s and 80s with a succession of triumphs—including its spectacular season at the Metropolitan Opera House—the company also gained fans and supporters that included Nelson Mandela, Stevie Wonder, Cicely Tyson, Misty Copeland, Jessye Norman, and six American presidents. Dance Theatre of Harlem details this momentous era as well as the company's difficult years, its impressive recovery as it partnered with new media's most brilliant creators—and, in the wake of its 50th anniversary, amid a global pandemic, its evolution into a worldwide virtual performance space.
 
Alive with stunning photographs, including many from the legendary Marbeth, this incomparable book is a must-have for any lover of dance, art, culture, or history. 

From African American to Asian American, indigenous to immigrant, "multiracial" to "mixedblood," the diversity of cultures in this world is matched only by the diversity of stories explaining our cultural origins: stories of creation and destruction, displacement and heartbreak, hope and mystery. With writing from Jamaica Kincaid on the fallacies of national myths, Yusef Komunyakaa connecting the toxic legacy of his hometown, Bogalusa, LA, to a blind faith in capitalism, and bell hooks relating the quashing of multiculturalism to the destruction of nature that is considered "unpredictable" amongst more than 35 other examinations of the relationship between culture and nature — this collection points toward the trouble of ignoring our cultural heritage, but also reveals how opening our eyes and our minds might provide a more livable future. 

The question "Do black landscapes matter?" cuts deep to the core of American history. From the plantations of slavery to contemporary segregated cities, from freedman villages to northern migrations for freedom, the nation’s landscape bears the detritus of diverse origins. Black landscapes matter because they tell the truth. In this vital new collection, acclaimed landscape designer and public artist Walter Hood assembles a group of notable landscape architecture and planning professionals and scholars to probe how race, memory, and meaning intersect in the American landscape.

Essayists examine a variety of U.S. places—ranging from New Orleans and Charlotte to Milwaukee and Detroit—exposing racism endemic in the built environment and acknowledging the widespread erasure of black geographies and cultural landscapes. Through a combination of case studies, critiques, and calls to action, contributors reveal the deficient, normative portrayals of landscape that affect communities of color and question how public design and preservation efforts can support people in these places. In a culture in which historical omissions and specious narratives routinely provoke disinvestment in minority communities, creative solutions by designers, planners, artists, and residents are necessary to activate them in novel ways. Black people have built and shaped the American landscape in ways that can never be fully known. Black Landscapes Matter is a timely and necessary reminder that without recognizing and reconciling these histories and spaces, America’s past and future cannot be understood.

Called “powerful and provocative“ by Dr. Ibram X. Kendi, author of the New York Times bestselling How to be an Antiracist, this explosive book of history and cultural criticism reveals how white feminism has been used as a weapon of white supremacy and patriarchy deployed against Black and Indigenous women, and women of color.

Discussing subjects as varied as The Hunger Games, Alexandria Ocasio–Cortez, the viral BBQ Becky video, and 19th century lynchings of Mexicans in the American Southwest, Ruby Hamad undertakes a new investigation of gender and race. She shows how the division between innocent white women and racialized, sexualized women of color was created, and why this division is crucial to confront. Along the way, there are revelatory responses to questions like: Why are white men not troubled by sexual assault on women? (See Christine Blasey Ford.) With rigor and precision, Hamad builds a powerful argument about the legacy of white superiority that we are socialized within, a reality that we must apprehend in order to fight.

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In this impressive anthology, Natalie Baszile brings together essays, poems, photographs, quotes, conversations, and first-person stories to examine black people’s connection to the American land from Emancipation to today. In the 1920s, there were over one million black farmers; today there are just 45,000. Baszile explores this crisis, through the farmers’ personal experiences. In their own words, middle aged and elderly black farmers explain why they continue to farm despite systemic discrimination and land loss. The "Returning Generation"—young farmers, who are building upon the legacy of their ancestors, talk about the challenges they face as they seek to redress issues of food justice, food sovereignty, and reparations.

These farmers are joined by other influential voices, including noted historians Analena Hope Hassberg and Pete Daniel, and award-winning author Clyde W. Ford, who considers the arrival of Africans to American shores; and James Beard Award-winning writers and Michael Twitty, reflects on black culinary tradition and its African roots. Poetry and inspirational quotes are woven into these diverse narratives, adding richness and texture, as well as stunning four-color photographs from photographers Alison Gootee and Malcom Williams, and Baszile’s personal collection.

THE NEW YORK TIMES BESTSELLER

In Ejaculate Responsibly, Gabrielle Blair offers a provocative reframing of the abortion issue in post-Roe America.

In a series of 28 brief arguments, Blair deftly makes the case for moving the abortion debate away from controlling and legislating women’s bodies and instead directs the focus on men’s lack of accountability in preventing unwanted pregnancies.

Highly readable, accessible, funny, and unflinching, Blair builds her argument by walking readers through the basics of fertility (men are 50 times more fertile than women), the unfair burden placed on women when it comes to preventing pregnancy (90% of the birth control market is for women), the wrongheaded stigmas around birth control for men (condoms make sex less pleasurable, vasectomies are scary and emasculating), and the counterintuitive reality that men, who are fertile 100% of the time, take little to no responsibility for preventing pregnancy. 

The result is a compelling and convincing case for placing the responsibility—and burden—of preventing unwanted pregnancies away from women and onto men.

Tracing five centuries of exploitation in Latin America, a classic in the field, now in its twenty fifth year

Since its U.S. debut a quarter-century ago, this brilliant text has set a new standard for historical scholarship of Latin America. It is also an outstanding political economy, a social and cultural narrative of the highest quality, and perhaps the finest description of primitive capital accumulation since Marx.

Rather than chronology, geography, or political successions, Eduardo Galeano has organized the various facets of Latin American history according to the patterns of five centuries of exploitation. Thus he is concerned with gold and silver, cacao and cotton, rubber and coffee, fruit, hides and wool, petroleum, iron, nickel, manganese, copper, aluminum ore, nitrates, and tin. These are the veins which he traces through the body of the entire continent, up to the Rio Grande and throughout the Caribbean, and all the way to their open ends where they empty into the coffers of wealth in the United States and Europe.

Weaving fact and imagery into a rich tapestry, Galeano fuses scientific analysis with the passions of a plundered and suffering people. An immense gathering of materials is framed with a vigorous style that never falters in its command of themes. All readers interested in great historical, economic, political, and social writing will find a singular analytical achievement, and an overwhelming narrative that makes history speak, unforgettably.
This classic is now further honored by Isabel Allende’s inspiring introduction. Universally recognized as one of the most important writers of our time, Allende once again contributes her talents to literature, to political principles, and to enlightenment.

The first biography of Ericka Huggins, a queer Black woman who brought spiritual self-care practices to the Black Panther Party.

In this groundbreaking biography, Mary Frances Phillips immerses readers in the life and legacy of Ericka Huggins, a revered Black Panther Party member, as well as a mother, widow, educator, poet, and former political prisoner. In 1969, the police arrested Ericka Huggins along with Bobby Seale and fellow Black Panther Party members, who were accused of murdering Alex Rackley. This marked the beginning of her ordeal, as she became the subject of political persecution and a well-planned FBI COINTELPRO plot.

Drawing on never-before-seen archival sources, including prison records, unpublished letters, photographs, FBI records, and oral histories, Phillips foregrounds the paramount role of self-care and community care in Huggins’s political journey, shedding light on Ericka’s use of spiritual wellness practices she developed during her incarceration. In prison, Huggins was able to survive the repression and terror she faced while navigating motherhood through her unwavering commitment to spiritual practices. In showcasing this history, Phillips reveals the significance of spiritual wellness in the Black Panther Party and Black Power movement.

Transcending the traditional male-centric study of the Black Panther Party, Black Panther Woman offers an innovative analysis of Black political life at the intersections of gender, motherhood, and mass incarceration. This book serves as an invaluable toolkit for contemporary activists, underscoring the power of radical acts of care as well as vital strategies to thrive in the world.

From her more than three hundred appearances for film and television, stage and cabaret, performing comedy or drama, as an unforgettable lead or a scene stealing supporting character, Jenifer Lewis has established herself as one of the most respected, admired, talented, and versatile entertainers working today.

This “Mega Diva” and costar of the hit sitcom black-ish bares her soul in this touching and poignant—and at times side-splittingly hilarious—memoir of a Midwestern girl with a dream, whose journey took her from poverty to the big screen, and along the way earned her many accolades.

With candor and warmth, Jenifer Lewis reveals the heart of a woman who lives life to the fullest. This multitalented “force of nature” landed her first Broadway role within eleven days of her graduation from college and later earned the title “Reigning Queen of High-Camp Cabaret.”

In the audaciously honest voice that her fans adore, Jenifer describes her transition to Hollywood, with guest roles on hits like The Fresh Prince of Bel-Air and Friends. Her movie Jackie’s Back! became a cult favorite, and as the “Mama” to characters portrayed by Whitney Houston, Tupac Shakur, Taraji P. Henson, and many more, Jenifer cemented her status as the “Mother of Black Hollywood.”         

When an undiagnosed mental illness stymies Jenifer’s career, culminating in a breakdown while filming The Temptations, her quest for wholeness becomes a harrowing and inspiring tale, including revelations of bipolar disorder and sex addiction.

Written with no-holds-barred honesty and illustrated with more than forty color photographs, this gripping memoir is filled with insights gained through a unique life that offers a universal message: “Love yourself so that love will not be a stranger when it comes.”

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.”

While Africans and their descendants have lived in Mexico for centuries, many Afro-Mexicans do not consider themselves to be either black or African. For almost a century, Mexico has promoted an ideal of its citizens as having a combination of indigenous and European ancestry. This obscures the presence of African, Asian, and other populations that have contributed to the growth of the nation. However, performance studies—of dance, music, and theatrical events—reveal the influence of African people and their cultural productions on Mexican society.

In this work, Anita González articulates African ethnicity and artistry within the broader panorama of Mexican culture by featuring dance events that are performed either by Afro-Mexicans or by other ethnic Mexican groups about Afro-Mexicans. She illustrates how dance reflects upon social histories and relationships and documents how residents of some sectors of Mexico construct their histories through performance. Festival dances and, sometimes, professional staged dances point to a continuing negotiation among Native American, Spanish, African, and other ethnic identities within the evolving nation of Mexico. These performances embody the mobile histories of ethnic encounters because each dance includes a spectrum of characters based upon local situations and historical memories.

Since life first arose on Earth, nearly all dinosaurs, mammals, insects, and birds that have ever existed have gone extinct. In this voicy, full-color illustrated encyclopedia, hear from the animals themselves what happened to them!

If your species happens to be alive right now, you should feel very lucky.

You probably know about the downfall of the dinosaurs and how the dodo bird met its doom. But you might not have heard about the other weird and wonderful creatures throughout the eons that just didn’t make it.

But that doesn’t mean all these stories are sad; extinction is just a part of the long, long history of life on Earth. And some of the ways these species died out are actually pretty silly . . .

In this fully illustrated encyclopedia, you’ll hear from the creatures who have faced extinction throughout the years—and learn what survival of the fittest means for those on evolution’s bad side.

Nearly a million copies sold in Japan!

A collection of Sojourner Truth's iconic words, including her famous speech at the 1851 Women's Rights Convention in Akron, Ohio

A former slave and one of the most powerful orators of her time, Sojourner Truth fought for the equal rights of black women throughout her life. This selection of her impassioned speeches is accompanied by the words of other inspiring African-American female campaigners from the nineteenth century.

Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives--and upended them. Now Penguin brings you a new set of the acclaimed Great Ideas, a curated library of selections from the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.

Perceptive and original, Ain’t I an Anthropologist is an overdue reassessment of Zora Neale Hurston’s place in American cultural and intellectual life.

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.

Undoubtedly the most influential black intellectual of the twentieth century and one of America's finest historians, W.E.B. DuBois knew that the liberation of the African American people required liberal education and not vocational training. He saw education as a process of teaching certain timeless values: moderation, an avoidance of luxury, a concern for courtesy, a capacity to endure, a nurturing love for beauty. At the same time, DuBois saw education as fundamentally subversive. This was as much a function of the well-established role of educationfrom Plato forwardas the realities of the social order under which he lived. He insistently calls for great energy and initiative; for African Americans controlling their own lives and for continued experimentation and innovation, while keeping education's fundamentally radical nature in view.

Though containing speeches written nearly one-hundred years ago, and on a subject that has seen more stormy debate and demagoguery than almost any other in recent history, The Education of Black People approaches education with a timelessness and timeliness, at once rooted in classical thought that reflects a remarkably fresh and contemporary relevance.

In the tradition of Michelle Alexander, an unflinching reckoning with the impact of 40 years of racist public school policy on generations of Black lives

In Punished for Dreaming Dr. Bettina Love argues forcefully that Reagan’s presidency ushered in a War on Black Children, pathologizing and penalizing them in concert with the War on Drugs. New policies punished schools with policing, closure, and loss of funding in the name of reform, as white savior, egalitarian efforts increasingly allowed private interests to infiltrate the system. These changes implicated children of color, and Black children in particular, as low performing, making it all too easy to turn a blind eye to their disproportionate conviction and incarceration. Today, there is little national conversation about a structural overhaul of American schools; cosmetic changes, rooted in anti-Blackness, are now passed off as justice.

It is time to put a price tag on the miseducation of Black children. In this prequel to The New Jim Crow, Dr. Love serves up a blistering account of four decades of educational reform through the lens of the people who lived it. Punished for Dreaming lays bare the devastating effect on 25 Black Americans caught in the intersection of economic gain and racist ideology. Then with input from leading U.S. economists, Dr. Love offers a road map for repair, arguing for reparations with transformation for all children at its core.

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More than 30 acclaimed writers—including diverse voices such as Nikki Giovanni, David Omotosho Black, Natasha Trethewey, Barry Jenkins, Jacqueline Woodson, Tayari Jones, and Angela Flournoy—reflect on their experience and expertise in this unique book on the craft of writing that focuses on the Black creative spirit.

How We Do It is an anthology curated by Black writers for the creation and proliferation of Black thought. While a creator’s ethnicity does not solely define them, it is inherently part of who they are and how they interpret the world.

For centuries, Black creators have utilized oral and written storytelling traditions in crafting their art. But how does one begin the process of constructing a poem or story or character? How do Black writers, when faced with questions of “authenticity,” dive deep into the essence of their lives and work to find the inherent truth? How We Do It addresses these profound questions. Not a traditional “how to” writing handbook, it seeks to guide rather than dictate and to validate the complexity and range of styles—and even how one thinks about craft itself.

An outstanding list of contributors offer their insights on a range of important topics. Pulitzer Prize winner Jericho Brown explores the lives personified in poetry, while Pulitzer Prize winner Natasha Trethewey explores decolonizing enduring metaphors. National Book Award finalist Angela Flournoy illuminates the pain of grief in all forms and how it can be revealed in the act of creation, and iconoclast Nikki Giovanni offers an elegiac declaration on language.

New and previously published essays and interviews provide encouragement, examples, and templates, and offer lessons on everything from poetic form and plotting a story to the lessons inherent in the act of writing, trial & error, and finding inspiration in the works of others, including those of Toni Morrison, Shakespeare, and Edward P. Jones. A handbook and a reference tool, How We Do It is a thoughtful and welcome tool that offers direction to help Black artists establish their own creative practice while celebrating and widening the scope of the Black writer’s role in art, history, and culture.

Contributors include David Omotosho Black, Jericho Brown, Breena Clark, Rita Dove, Camille T. Dungy, W. Ralph Eubanks, Curdella Forbes, Angela Flournoy, Ernest Gaines, Nikki Giovanni, Marita Golden, Ravi Howard, Terrance Hayes, Mitchell S. Jackson, Barry Jenkins, Charles S. Johnson, Tayari Jones, Jamaica Kincaid, Tony Medina, E. Ethelbert Miller, Elizabeth Nunez, Carl Phillips, Jewell Parker Rhodes, Rion Amilcar Scott, Evie Shockley, Natasha Trethewey, Frank X Walker, Afaa M. Weaver, Crystal Wilkinson, Jacqueline Woodson, Tiphanie Yanique.