The Secret Lives of Church Ladies explores the raw and tender places where Black women and girls dare to follow their desires and pursue a momentary reprieve from being good. The nine stories in this collection feature four generations of characters grappling with who they want to be in the world, caught as they are between the church’s double standards and their own needs and passions.

In the city of Houston - a sprawling, diverse microcosm of America - the son of a black mother and a Latino father is coming of age. He’s working at his family’s restaurant, weathering his brother’s blows, resenting his older sister’s absence. And discovering he likes boys.

Around him, others live and thrive and die in Houston’s myriad neighborhoods: a young woman whose affair detonates across an apartment complex, a ragtag baseball team, a group of young hustlers, hurricane survivors, a local drug dealer who takes a Guatemalan teen under his wing, a reluctant chupacabra.

Bryan Washington’s brilliant, viscerally drawn world vibrates with energy, wit, and the infinite longing of people searching for home. With soulful insight into what makes a community, a family, and a life, Lot explores trust and love in all its unsparing and unsteady forms.

Mosley presents distinct characters as they struggle to move through the world in each of these stories—heroes who are awkward, nerdy, self-defeating, self-involved, and, on the whole, odd. He overturns the stereotypes that corral black male characters and paints a subtle, powerful portrait of each of these unique individuals. In "The Good News Is," a man’s insecurity about his weight gives way to a serious illness and the intense loneliness that accompanies it. Deeply vulnerable, he allows himself to be taken advantage of in return for a little human comfort in a raw display of true need. "Pet Fly," previously published in the New Yorker, follows a man working as a mailroom clerk for a big company—a solitary job for which he is overqualified—and the unforeseen repercussions he endures when he attempts to forge a connection beyond the one he has with the fly buzzing around his apartment. And "Almost Alyce" chronicles failed loves, family loss, alcoholism, and a Zen approach to the art of begging that proves surprisingly effective.

With On Girlhood, Edim has beautifully curated a canonical work centering around the voices of young Black characters as they contend with innocence, belonging, love, and self-discovery. From the timeless lessons in Jamaica Kincaid’s “Girl” (“this is how you smile to someone you like completely”) to those in Dana Johnson’s “Melvin in the Sixth Grade” (“this is how kids start fights”), these short stories illuminate the power and the precariousness of Black girlhood. Highlighting both iconic and lesser-known authors—Edwidge Danticat, Amina Gautier, Dorothy West, Paule Marshall, Shay Youngblood, and more—this is an indispensable compendium that will instill readers with “the nerve to walk [their] own way” (Zora Neale Hurston).

A perfect introduction for new readers and a must-have for avid fans, this New York Times Notable Book includes “Bloodchild,” winner of both the Hugo and the Nebula awards and “Speech Sounds,” winner of the Hugo Award. Appearing in print for the first time, “Amnesty” is a story of a woman named Noah who works to negotiate the tense and co-dependent relationship between humans and a species of invaders. Also new to this collection is “The Book of Martha” which asks: What would you do if God granted you the ability—and responsibility—to save humanity from itself?

Like all of Octavia Butler’s best writing, these works of the imagination are parables of the contemporary world. She proves constant in her vigil, an unblinking pessimist hoping to be proven wrong, and one of contemporary literature’s strongest voices.

Set in a Harlem high rise, a stunning debut about a tight-knit cast of characters grappling with their own personal challenges while the forces of gentrification threaten to upend life as they know it.

Like Gloria Naylor’s The Women of Brewster Place and Lin Manuel Miranda’s In the Heights, Sidik Fofana’s electrifying collection of eight interconnected stories showcases the strengths, struggles, and hopes of one residential community in a powerful storytelling experience.

Each short story follows a tenant in the Banneker Homes, a low-income high rise in Harlem where gentrification weighs on everyone’s mind. There is Swan in apartment 6B, whose excitement about his friend’s release from prison jeopardizes the life he’s been trying to lead. Mimi, in apartment 14D, who hustles to raise the child she had with Swan, waitressing at Roscoe’s and doing hair on the side. And Quanneisha B. Miles, a former gymnast with a good education who wishes she could leave Banneker for good, but can’t seem to escape the building’s gravitational pull. We root for these characters and more as they weave in and out of each other’s lives, endeavoring to escape from their pasts and blaze new paths forward for themselves and the people they love.

Stories from the Tenants Downstairs brilliantly captures the joy and pain of the human experience and heralds the arrival of a uniquely talented writer.

A thirteen-year-old meditates on her sadness and the difference between herself and her white best friend when an unexpected tragedy occurs; a woman recovering from a miscarriage finds herself unable to let go of her daughter—whose body parts she sees throughout her daily life; a teenager resists her family’s church and is accused of courting the devil; servers at a supper club cater to the insatiable cravings of their wealthy clientele; and two estranged siblings take a road-trip with their father’s ashes and are forced to face the troubling reality of how he continues to shape them.

In this 1983 short story—the only short story Morrison ever wrote—we meet Twyla and Roberta, who have known each other since they were eight years old and spent four months together as roommates in St. Bonaventure shelter. Inseparable then, they lose touch as they grow older, only later to find each other again at a diner, a grocery store, and again at a protest. Seemingly at opposite ends of every problem, and at each other’s throats each time they meet, the two women still cannot deny the deep bond their shared experience has forged between them.
 
Another work of genius by this masterly writer, Recitatif keeps Twyla’s and Roberta’s races ambiguous throughout the story. Morrison herself described Recitatif, a story which will keep readers thinking and discussing for years to come, as “an experiment in the removal of all racial codes from a narrative about two characters of different races for whom racial identity is crucial.” We know that one is white and one is Black, but which is which? And who is right about the race of the woman the girls tormented at the orphanage?
 
A remarkable look into what keeps us together and what keeps us apart, and how perceptions are made tangible by reality, Recitatif is a gift to readers in these changing times.

A hardcover edition of Octavia E. Butler's bestselling short story collection Bloodchild, with a new cover design and new introduction by two-time National Book Award winner Jesmyn Ward

Bloodchild and Other Stories is renowned author Octavia E. Butler's only collection of shorter work and features the Hugo and Nebula award-winning stories "Bloodchild" and "Speech Sounds." These works of the imagination are parables of the contemporary world. Butler proves constant in her vigil, an unblinking pessimist hoping to be proven wrong, and one of contemporary literature's strongest voices.

“In these kaleidoscopic stories of Jamaica and its diaspora we hear many voices at once: some cultivated, some simple, some wickedly funny, some deeply melancholic. All of them shine.”—Zadie Smith

Tenderness and cruelty, loyalty and betrayal, ambition and regret—Alexia Arthurs navigates these tensions to extraordinary effect in her debut collection about Jamaican immigrants and their families back home. Sweeping from close-knit island communities to the streets of New York City and midwestern university towns, these eleven stories form a portrait of a nation, a people, and a way of life.

Brown Sugar brings together some of the most acclaimed voices in today's black literary world -- Sapphire, Natasha Tarpley, Reginald Harris, and Pamela Sneed, among them. These titillating stories cover the full spectrum of black experience and identity as they reveal sexuality and sensuality in all their varied and exotic forms. From the subtle to the graphic, Brown Sugar embraces the ardor and passion of black love and lust, and will appeal to both men and women. Featuring both well-established authors and promising new writers, this one-of-a-kind collection represents the past, present, and future of black literature at its pleasurable and outrageous best.

It is a must-have for every lover, as well as every lover of first-rate fiction.

A short story collection in the vein of Danielle Evans and Bryan Washington, about community, home, betrayal, and forgiveness.

HOLLER, CHILD is a short story collection packed with extraordinary and unforgettable writing and scenes, that explores concerns and issues that press at the bruises of guilt, betrayal, and forgiveness.

Set in the same Black community in Texas as PERISH, LaToya's debut novel, each story focuses on unique characters that illuminate life in Texas; they offer briliant, heartbreaking, but ultimately hopeful perspectives from the women and men in the community, and touch on big themes like race, power, inequality, and more.

In one story, the appearance of a horse in a man's suburban backyard places a former horse breeder in trouble with the police, while in another, following the mass suicide of his entire congregation, the mother of a cult leader tries to honor him in a way she couldn't while he was alive.

Fresh and urgently told, HOLLER, CHILD is a wise follow-up to LaToya's debut novel.

A vibrant collection of love stories from a debut author, retelling myths, folktales, and histories from around the world.

A high-born Nigerian goddess, who has been beaten down and unappreciated by her gregarious lover, longs to be truly seen.

A young businesswoman attempts a great leap in her company, and an even greater one in her love life.

A powerful Ghanaian spokeswoman is forced to decide whether she should uphold her family’s politics or be true to her heart.

In her debut collection, internationally acclaimed writer Bolu Babalola retells the most beautiful love stories from history and mythology with incredible new detail and vivacity. Focusing on the magical folktales of West Africa, Babalola also reimagines Greek myths, ancient legends from the Middle East, and stories from long-erased places.

With an eye towards decolonizing tropes inherent in our favorite tales of love, Babalola has created captivating stories that traverse across perspectives, continents, and genres.

Love in Color is a celebration of romance in all its many splendid forms.

In her first new book in seven years, Tananarive Due further cements her status as a leading innovator in Black horror and Afrofuturism

“Tananarive Due is the master of Black horror, even teaching a class where Jordan Peele guest-lectured. So her new collection, The Wishing Pool, out in mid-April, is a major treat, full of major scares. Due excels at twist endings but also brilliantly creates an atmosphere of creeping dread in which you know something terrible is coming. The Wishing Pool is helpfully divided into four sections, and each feels like a movement in a symphony. There are classic tales of horror, then a series of stories set in a Florida town where the swamp tends to swallow people up; the final two sections shift to science fiction about post-apocalyptic futures. (These last sections include pandemic stories, written before 2020, which hit harder now.) Due shows just how much territory she can cover in one short book and just how versatile terrifying tales can be.”
—Washington Post

American Book Award–winning author Tananarive Due’s second collection of stories includes offerings of horror, science fiction, and suspense—all genres she wields masterfully. From the mysterious, magical town of Gracetown to the aftermath of a pandemic to the reaches of the far future, Due’s stories all share a sense of dread and fear balanced with heart and hope.

In some of these stories, the monster is racism itself; others address the monster within, each set against the supernatural or surreal. All are written with Due’s trademark attention to detail and deeply drawn characters.

In addition to previously published work, this collection contains brand-new stories, including “Rumpus Room,” a supernatural horror novelette set in Florida about a woman’s struggle against both outer and inner demons.

A groundbreaking debut collection portraying the lived experiences of Black Muslims grappling with faith, family, and freedom in America.

In Temple Folk, Black Muslims contemplate the convictions of their race, religion, economics, politics, and sexuality in America. The ten stories in this collection contribute to the bounty of diverse narratives about Black life by intimately portraying the experiences of a community that resists the mainstream culture to which they are expected to accept and aspire to while functioning within the country in which they are born.

In “Due North,” an obedient daughter struggles to understand why she’s haunted by the spirit of her recently deceased father. In “Who’s Down?” a father, after a brief affair with vegetarianism, conspires with his daughter to order him a double cheeseburger. In “Candy for Hanif” a mother’s routine trip to the store for her disabled son takes an unlikely turn when she reflects on a near-death experience. In “Woman in Niqab,” a daughter’s suspicion of her father’s infidelity prompts her to wear her hair in public. In “New Mexico,” a federal agent tasked with spying on a high-ranking member of the Nation of Islam grapples with his responsibilities closer to home.

With an unflinching eye for the contradictions between what these characters profess to believe and what they do, Temple Folk accomplishes the rare feat of presenting moral failures with compassion, nuance and humor to remind us that while perfection is what many of us strive for, it’s the errors that make us human.

Included in Best Books of 2018 Lists from Refinery29, NPR, The Root, HuffPost, Vanity Fair, Bustle, Chicago Tribune, PopSugar, and The Undefeated.

In one of the season’s most acclaimed works of fiction—longlisted for the National Book Award and winner of the PEN Open Book Award—Nafissa Thompson-Spires offers “a firecracker of a book...a triumph of storytelling: intelligent, acerbic, and ingenious” (Financial Times).

Nafissa Thompson-Spires grapples with race, identity politics, and the contemporary middle class in this “vivid, fast, funny, way-smart, and verbally inventive” (George Saunders, author of Lincoln in the Bardo) collection.

Each captivating story plunges headfirst into the lives of utterly original characters. Some are darkly humorous—two mothers exchanging snide remarks through notes in their kids’ backpacks—while others are devastatingly poignant. In the title story, when a cosplayer, dressed as his favorite anime character, is mistaken for a violent threat the consequences are dire; in another story, a teen struggles between her upper middle class upbringing and her desire to fully connect with so-called black culture.

Thompson-Spires fearlessly shines a light on the simmering tensions and precariousness of black citizenship. Boldly resisting categorization and easy answers, Nafissa Thompson-Spires “has taken the best of what Toni Cade Bambara, Morgan Parker, and Junot Díaz do plus a whole lot of something we’ve never seen in American literature, blended it all together...giving us one of the finest short-story collections” (Kiese Laymon, author of Long Division).

A wide-ranging collection, including two novellas and ten stories exploring complex identities, from the acclaimed author of Corregidora, The Healing, and Palmares.

“Gayl Jones’s work represents a watershed in American literature. From a literary standpoint, her form is impeccable . . . and as a Black woman writer, her truth-telling, filled with beauty, tragedy, humor, and incisiveness, is unmatched.”
—Imani Perry, author of Looking for Lorraine and Breathe

Gayl Jones, who was first edited by Toni Morrison, has been described as one of the great literary writers of the 20th century and was recently a finalist for the Pulitzer Prize in fiction. This new collection of short fiction is only the second in her rich career and one that displays her strengths in the genre in many facets. Opening with two novella-length works, “Butter” and “Sophia,” this collection features Jones’s legendary talents in a range of settings and styles, from the hyperrealist to the mystical, in intricate multipart stories, in more traditional forms, and even in short fragments.

Her narrators are women and men, Black, Brown, Indigenous; her settings are historical and contemporary, in South America, Mexico, and the US; her themes center on complex identities, unorthodox longings and aspirations. She writes about spies, photographers, playground designers, cartoonists, and baristas; about workers and revolutionaries, about environmentalism, feminism, poetry, film, and love, but above all about our multicultural, multiethnic, and multiracial society.

Zadie Smith's first time writing for the stage, a riotous twenty-first century translation of Geoffrey Chaucer's classic The Wife of Bath

“Married five times. Mother. Lover. Aunt. Friend.
She plays many roles round here. And never
Scared to tell the whole of her truth, whether
Or not anyone wants to hear it. Wife
Of Willesden: pissed enough to tell her life
Story to whoever has ears and eyes . . .”

In her stage-writing debut, celebrated novelist and essayist Zadie Smith brings to life a comedic and cutting twenty-first century translation of Geoffrey Chaucer’s classic The Wife of Bath. The Wife of Willesden follows Alvita, a Jamaican-born British woman in her mid-50s, as she tells her life story to a band of strangers in a small pub on the Kilburn High Road. Wearing fake gold chains, dressed in knock-off designer clothes, and speaking in a mixture of London slang and patois, Alvita recalls her five marriages in outrageous, bawdy detail, rewrites her mistakes as triumphs, and shares her beliefs on femininity, sexuality, and misogyny with anyone willing to listen.
 
A thoughtful reimagining of an unforgettable narrative of female sexual power, written with singular verve and wit, The Wife of Willesden shows why Zadie Smith is one of the sharpest and most versatile writers working today.

Night of the Living Queers is a YA horror anthology that explores a night when anything is possible exclusively featuring queer authors of color putting fresh spins on classic horror tropes and tales.

No matter its name or occasion, Halloween is more than a Hallmark holiday, it’s a symbol of transformation. NIGHT OF THE LIVING QUEERS is a YA horror anthology that explores how Halloween can be more than just candies and frights, but a night where anything is possible. Each short story will be told through the lens of a different BIPOC teen and the Halloween night that changes their lives forever. Creative, creepy, and queer, this collection will bring fresh terror, heart, and humor to young adult literature.

Contributors include editors Alex Brown and Shelly Page, Kalynn Bayron, Ryan Douglass, Sara Farizan, Maya Gittelman, Kosoko Jackson, Em Liu, Vanessa Montalban, Ayida Shonibar, Tara Sim, Trang Thanh Tran, and Rebecca Kim Wells.

From the introduction by Earl Lovelace:

Where Trinidad is different even from its Caribbean sisters is the degree to which it has developed its folk arts--its carnival, its steel band, its music--as forms of both rebellion and mediation. These forms have not only continued to entertain us; they ritualize rebellion, speak out against oppression, and affirm the personhood of the downpressed. This rebellion is not evident with the same intensity as it used to be. Independence and political partisanship and the growing distance of the middle class from the folk, among other developments, have seen a fluctuation in the ideals of rebellion. Yet what is incontestable is that these arts have established and maintained a safe space for conflict to be resolved or at least expressed, not in a vacuum but in the face of a status quo utilizing its muscle and myths to maintain a narrative that upholds its interests.

As the situation becomes more complex and information more crucial, our literature is best placed to challenge or to consolidate these myths. Individually, we are left to decide on whose behalf our writing will be employed. In this situation, the struggle has been within the arts themselves--whether they see themselves as an extension of rebellion or art as entertainment. Although late on the scene and without the widespread appeal of the native and folk arts, our literature can lay claim to being part of these arts of rebellion, upholding and making visible the dismissed and ignored, lifting the marginalized into personhood, persuading us that a new world is required, and establishing this island as a place in which it can be imagined and created.

The Islands follows the lives of Jamaican women—immigrants or the
descendants of immigrants—who have relocated all over the world to escape the ghosts of colonialism on what they call the Island. Set in the United States, Jamaica, and Europe, these international stories examine the lives of an uncertain and unsettled cast of characters. In one story, a woman and her husband impulsively leave San Francisco and move to Florida with wild dreams of American reinvention only to unearth the cracks in their marriage. In another, the only Jamaican mother—who is also a touring comedienne—at a prep school feels pressure to volunteer in the school’s International Day. Meanwhile, in a third story, a travel writer finally connects with the mother who once abandoned her.
 
Set in locations and times ranging from 1950s London to 1960s Panama to modern-day New Jersey, Dionne Irving reveals the intricacies of immigration and assimilation in this debut, establishing a new and unforgettable voice in Caribbean-American literature. Restless, displaced, and disconnected, these characters try to ground themselves—to grow where they find themselves planted—in a world in which the tension between what’s said and unsaid can bend the soul.

From a National Book Award finalist, Witness is an elegant, insistent narrative of actions taken and not taken.

What does it mean to take action? To bear witness? What does it cost?

In these ten stories, each set in the changing landscapes of contemporary New York City, a range of characters—from children to grandmothers to ghosts—live through the responsibility of perceiving and the moral challenge of speaking up or taking action. Though they strive to connect, to remember, to stand up for, and to really see each other, they often fall short, and the structures they build around these ambitions and failures shape not only their own futures but the legacies and prospects of their families and their city.

In its portraits of families and friendships lost and found, the paradox of intimacy, the long shadow of grief, the meaning of home, Witness enacts its own testimony. Here is a world where fortunes can be made and stolen in just a few generations, where strangers might sometimes show kindness while those we trust—doctors, employers, siblings—too often turn away, where joy comes in snatches: flowers on a windowsill, dancing in the street, glimpsing your purpose, change on the horizon.

With prose as upendingly beautiful as it is artfully, seamlessly crafted, Jamel Brinkley offers nothing less than the full scope of life and death and change in the great, unending drama of the city.

A ferocious, innovative story collection about Black lives in the past, present, and future

In Fat Time and Other Stories, Jimi Hendrix, Francis Bacon, the boxer Jack Johnson, Miles Davis, and a space-age Muhammad Ali find themselves in the otherworldly hands of Jeffery Renard Allen, reimagined and transformed to bring us news of America in the twentieth and twenty-first centuries. Along with them are characters of Allen’s invention: two teenagers in an unnamed big city who stumble through a down-low relationship; an African preacher visits a Christian religious retreat to speak on the evils of fornication in an Italian villa imported to America by Abraham Lincoln; and an albino revolutionary who struggles with leading his people into conflict.

The two strands in this brilliant story collection—speculative history and tender, painful depictions of Black life in urban America—are joined by African notions of circular time in which past, present, and future exist all at once. Here the natural and supernatural, the sacred and the profane, the real and fantastical, destruction and creation are held in delicate and tense balance. Allen’s work has been said to extend the tradition of Ralph Ellison, William Faulkner, Henry Roth, and Ishmael Reed, but he is blazing his own path through American literature. Fat Time and Other Stories brilliantly shows the range and depth of his imagination.

From the author of the bestselling novel The Street, comes a powerful collection of stories that captures a remarkably diverse panorama of African American experience in the 1950s and 1960s—now with a stunning new look.

A small-town pharmacist’s decision to take a day off leads his wife to an agonizing encounter with the police. A retired Black college professor teaching at a predominately white high school is kidnapped and forced to witness an unthinkable horror. A young Black girl watches her aunt’s suitors threaten her family’s wellbeing, with repercussions that reverberate for decades. Ann Petry wrote these and the other extraordinary stories in this collection over half a century ago, but the problems they interrogate still exist today, incisively uncovering the consequences of America’s pervasive racism, while telling timeless stories of everyday lives, of aspiration, frustration, and love. Miss Muriel and Other Stories is “a delicate, unflinching probe into African-American existence” (Boston Globe) from one of the most gifted writers of the twentieth century. 

Originally published between 1945 and 1971, Petry’s stories are “a delicate, unflinching probe into African-American existence” (Boston Globe) and an assertion of her status as one of the most gifted writers of the twentieth century. 

This incendiary debut of linked stories narrates the everyday lives of Soweto residents, from the early years of apartheid to its dissolution and beyond.

Set in Soweto, the urban heartbeat of South Africa, Innards tells the intimate stories of everyday black folks processing the savagery of apartheid with grit, wit, and their own distinctive bewildering humor. Rich with the thrilling textures of township language and life, it braids the voices and perspectives of an indelible cast of characters into a breathtaking collection flush with forgiveness, rage, ugliness, and beauty. Meet a fake PhD and ex-freedom fighter who remains unbothered by his own duplicity, a girl who goes mute after stumbling upon a burning body, twin siblings nursing a scorching feud, and a woman unraveling under the weight of a brutal encounter with the police. At the heart of these stories about deceit and ambition, appalling violence, familial turmoil, and love is South Africa’s history of slavery, colonization, and apartheid. Like many Americans today, Innards’ characters must navigate the shadows of the recent past alongside the uncertain opportunities of the promised land.

Full to bursting with life, in all its complexities and vagaries, Innards is an uncompromising depiction of black South Africa. Visceral and tender, it heralds the arrival of a major new voice in contemporary fiction.