Both an epic history and an intimate family story, a startling account of the lives of Black cops in one Midwestern city.

In the wake of the George Floyd protests, a Black police organization in Cleveland called the Black Shield was causing a stir. Officers broke ranks with their fellow cops, aligning themselves with local Black Lives Matter activists and supporting demands for radical reforms. In the midst of these fissures, Wilbert L. Cooper returned to his hometown to write a profile of the organization's president, who had become notorious years earlier for shooting a young unarmed Black man.

For Cooper, the news was deeply personal. Both of his parents are retired Black Cleveland cops, his sister was a Cleveland cop, and on his mother's side, there’s been a Cleveland cop in the family since 1950. Unearthing the dramatic histories of the Black Shield and his own family, Cooper tells the intertwined stories of the two: his relatives, who trace their roots back to the Great Migration and who chose policing because it was one of the few stepping stones to economic security and status in a segregated city; and an organization that, over decades of cultural and political upheaval, cycled endlessly between rebellion and acquiescence.

An intimate, bold work of literary nonfiction, The Black Shield is an urgent exploration of the complex duality of the Black cop. Cooper grapples with a knot of contradictions: Is the Black officer a sign of progressive change, or of the system’s masterful way of changing its appearance without changing its outcomes? How can he reconcile the fact that policing helped lift his family out of poverty, and the equally real panic that accompanies being pulled over? Fearless and singularly powerful, Cooper gives us an American story about race and power of a kind that has never been told before.

For numerous migrants who ventured westward in the twentieth century in search of greater opportunities, the glitter of California often proved to be mere fool’s gold—promising easy riches but frequently resulting in dispossession and displacement. Poet Wendy M. Thompson is descended from two of these migrant waves—post-1965 Chinese immigrants and Black southerners of the Second Great Migration—whose presence has permanently transformed the region.

In this arresting debut poetry collection, Thompson traces the past and present of California’s Bay Area, exploring themes of family, migration, girlhood, and identity against a backdrop of urban redevelopment, advanced gentrification, and the erasure of Black communities. Traveling down both familiar highways and obscure side streets, her poems map a region where race, class, and language are just some of the fault lines that divide communities and produce periodic tremors of violence and resistance.

Confronting assimilationist myths of the American Dream, Black California Gold depicts a setting that is less a melting pot than a smelting pot, subjecting different ethnic groups to searing trials and extreme pressures that threaten to break them down entirely. Yet, it also celebrates the Black residents of the Bay Area who have struggled to sustain home and hope amid increasingly desperate conditions.

Essays on hip-hop feminism featuring relevant, real conversations about how race and gender politics intersect with pop culture and current events.

For the Crunk Feminist Collective, their academic day jobs were lacking in conversations they actually wanted—relevant, real conversations about how race and gender politics intersect with pop culture and current events. To address this void, they started a blog that turned into a widespread movement. The Collective's writings foster dialogue about activist methods, intersectionality, and sisterhood. And the writers' personal identities—as black women; as sisters, daughters, and lovers; and as television watchers, sports fans, and music lovers—are never far from the discussion at hand.

These essays explore "Sex and Power in the Black Church," discuss how "Clair Huxtable is Dead," list "Five Ways Talib Kweli Can Become a Better Ally to Women in Hip Hop," and dwell on "Dating with a Doctorate (She Got a Big Ego?)." Self-described as "critical homegirls," the authors tackle life stuck between loving hip hop and ratchet culture while hating patriarchy, misogyny, and sexism.

A young journalist, reeling from loss, investigates a mysterious cult in the California redwoods, only to be drawn in by its charismatic leader in this addictive novel that asks why people give up control and what it takes, ultimately, to find one’s place in the world.

Faruq Zaidi, a young journalist processing the recent death of his father, a devout Muslim, takes the opportunity to embed himself in a cult called “the nameless.” Based in the California redwoods and shepherded by an enigmatic Vietnam War veteran named Odo, the nameless adhere to the 18 Utterances, including teachings such as “all suffering is distortion” and “see only beauty.” Faruq, skeptical but committed to unraveling the mystery of the nameless, extends his stay over months, as he gets deeper into the cult’s inner workings and alluring teachings. But as he gets closer to Odo, Faruq himself begins to unravel, forced to come to terms with the memories he has been running from while trying to resist Odo’s spell. 

Told in three seamlessly interwoven threads―Faruq’s present-day investigation, Odo’s time as an infantryman during the Vietnam War alongside three other Black soldiers before the formation of the movement, and a documentary script that recounts the nameless’s clash with a Texas fundamentalist church―O Sinners! examines both longing and belonging. Ultimately the novel asks: What is it that we seek from the people we admire and, inevitably, from one another?

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In May 1967, internationally renowned activist Fannie Lou Hamer purchased forty acres of land in the Mississippi Delta, launching the Freedom Farms Cooperative (FFC). A community-based rural and economic development project, FFC would grow to over 600 acres, offering a means for local sharecroppers, tenant farmers, and domestic workers to pursue community wellness, self-reliance, and political resistance. Life on the cooperative farm presented an alternative to the second wave of northern migration by African Americans--an opportunity to stay in the South, live off the land, and create a healthy community based upon building an alternative food system as a cooperative and collective effort.

Freedom Farmers expands the historical narrative of the black freedom struggle to embrace the work, roles, and contributions of southern Black farmers and the organizations they formed. Whereas existing scholarship generally views agriculture as a site of oppression and exploitation of black people, this book reveals agriculture as a site of resistance and provides a historical foundation that adds meaning and context to current conversations around the resurgence of food justice/sovereignty movements in urban spaces like Detroit, Chicago, Milwaukee, New York City, and New Orleans.

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Longlisted for the National Book Award

A Kirkus Prize Finalist

A Boston Globe-Horn Book Honor Book

"A must-have"―Booklist (starred review)

Celebrated author Carole Boston Weatherford and illustrator Floyd Cooper provide a powerful look at the Tulsa Race Massacre, one of the worst incidents of racial violence in our nation's history. The book traces the history of African Americans in Tulsa's Greenwood district and chronicles the devastation that occurred in 1921 when a white mob attacked the Black community.

News of what happened was largely suppressed, and no official investigation occurred for seventy-five years. This picture book sensitively introduces young readers to this tragedy and concludes with a call for a better future.

The call of summer, sisterhood, and hearts in need of healing bring two best friends and their
college-age daughters to Napa Valley, California’s breathtaking wine country—where a long-held secret threatens to forever alter their relationships . . .

Since their fast friendship as teenagers over 30 years ago, Louisiana natives Remi Landry and Bianca Fuentes Perez have seen each other through the best and worst of times. Now, as Remi grieves the sudden death of her beloved husband of 25 years, and Bianca struggles with the fallout of a divorce she didn’t see coming, the women are amid their greatest challenges yet.

Remi and Gerard spent their honeymoon and summers in Napa and on the Sonoma Coast. Their love of wine led them to buy a Victorian home in Wine Country—and then a winery on the site of an age-old vineyard. They spoke endlessly about retiring to run their winery. But with Gerard gone, Remi must sort through his things and reevaluate their assets, and her future.

Bianca is grateful to be there for Remi. After all, Remi was her rock when Bianca’s husband left—and throughout the breast cancer diagnosis that followed. Now in remission, and with her daughter a thriving college freshman, Bianca hopes for a brighter future. But when Remi unearths a secret about her late husband so shattering even Bianca can’t help, the past casts a shadow over everything—and everyone . . .

Emotional and relatable, here is a captivating novel of the bonds of friendship, the power of love and forgiveness, and the revelation that sometimes comfort lies where you least expect it.

Published in 1982, But Some of Us Are Brave was the first-ever Black women's studies reader and a foundational text of contemporary feminism. 

Featuring writing from eminent scholars, activists, teachers, and writers, such as the Combahee River Collective and Alice Walker, All the Women Are White, All the Blacks Are Men, But Some of Us Are Bravechallenges the absence of Black feminist thought in women’s studies, confronts racism, and investigates the mythology surrounding Black women in the social sciences. 

As the first comprehensive collection of Black feminist scholarship, But Some of Us Are Brave was recognized by Audre Lorde as “the beginning of a new era, where the ‘women’ in women’s studies will no longer mean ‘white.’” 

Coeditors Akasha (Gloria T.) Hull, Patricia Bell-Scott, and Barbara Smith are authors and former women's studies professors. Brittney C. Cooper is a professor of Women's and Gender Studies and Africana Studies at Rutgers University. She is the author of several books, including Eloquent Rage, named by Emma Watson as an Our Shared Shelf read for November/December 2018.

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"Master of craft and narrative" Walter Mosley returns with this crowning achievement in the Easy Rawlins saga, in which the iconic detective's loyalties are tested on the sun-soaked streets of Southern California (National Book Foundation) 

It is 1969, and flames can be seen on the horizon, protest wafts like smoke though the thick air, and Easy Rawlins, the Black private detective whose small agency finally has its own office, gets a visit from a white Vietnam veteran. The young man comes to Easy with a story that makes little sense. He and his lover, a beautiful young woman, were attacked in a citrus grove at the city’s outskirts. He may have killed a man, and the woman and his dog are now missing. Inclined to turn down what sounds like nothing but trouble, Easy takes the case when he realizes how damaged the young vet is from his war experiences—the bond between veterans superseding all other considerations.
 
The veteran is not Easy’s only unlooked-for trouble. Easy’s adopted daughter Feather’s white uncle shows up uninvited, raising questions and unsettling the life Easy has long forged for the now young woman. Where Feather sees a family reunion, Easy suspects something else, something that will break his heart.
 
Blood Grove is a crackling, moody, and thrilling race through a California of hippies and tycoons, radicals and sociopaths, cops and grifters, both men and women. Easy will need the help of his friends—from the genius Jackson Blue to the dangerous Mouse Alexander, Fearless Jones, and Christmas Black—to make sense of a case that reveals the darkest impulses humans harbor. 
 
Blood Grove is a novel of vast scope and intimate insight, and a soulful call for justice by any means necessary.

Hip Hop Studies and Queer Black Feminism presents a dynamic and much-needed fresh analysis of Black gendering and racialized sexualities in the sphere of Hip Hop. Editors Elaine B. Richardson, Gwendolyn D. Pough, and Treva B. Lindsey bring together established and rising scholars to examine the work of Hip Hop creators and practitioners, using the genre as a lens to address the crises of this historical moment, marked by attacks on bodily autonomy, LGBTQ+ rights, education, and Black studies. Tracing legacies of queer Black feminist activism and expression through Hip Hop culture and music, this timely anthology recenters queer Black feminism and cements its place in (Black) culture, liberation movements, and education.