La obra maestra de la premio Nobel de Literatura Toni Morrison, «la mejor novela norteamericana de los últimos cincuenta años» según The New York Times, ganadora del Premio Pulitzer y del American Book Award

«No puedo imaginar la literatura norteamericana sin esta novela.»
John Leonard, Los Angeles Times

Para escribir esta magnífica historia, merecedora del Premio Pulitzer, Toni Morrison se inspiró en la vida real de una esclava afroamericana, Margaret Garner, que en 1856 escapó de una plantación en Kentucky y consiguió llegar al estado libre de Ohio. A punto de ser recapturada, Margaret tomó la trágica decisión de sacrificar a su hija para salvarla de una vida en cautiverio.

En estas páginas, Sethe es la esclava prófuga que vendió su cuerpo para grabar el nombre de su hija muerta en la lápida: diez minutos por «Beloved», veinte por «Querida Beloved». Muchos años después, Sethe vive en Ohio con Denver, su hija adolescente, y Paul D., un viejo amigo que también fue esclavo. Todos intentan prosperar y olvidar el pasado, hasta que un día aparece una joven que dice llamarse Beloved. Tiene la edad que tendría su hija si viviese y sabe ciertas cosas que sugieren que podría serlo.

Beloved se convirtió de inmediato en un clásico cuando se publicó en 1987. El crítico John Leonard escribió en Los Angeles Times: «No concibo la literatura norteamericana sin esta novela». Casi dos décadas después, The New York Times la eligió como la mejor novela norteamericana de los últimos cincuenta años.

Reseñas:
«Uno de los libros por lo que vale la pena volver a la biblioteca (aunque sea virtual). Obra esencial de la Premio Nobel de Literatura.»
Begoña Alonso, Elle

«Imbricando un realismo desabrido con una poderosa imaginación fantástica, [...] Beloved se convirtió de inmediato en un clásico».
Zenda

«Toni Morrison fue un gigante de su época y de la nuestra. Todo el mundo debería

leer Beloved.»
Margaret Atwood, The New York Times

«Beloved es la gran novela norteamericana no escrita del siglo XIX, trata de cosas sobre las que jamás se escribió y que laten sin embargo en el fondo de novelas sí escritas, por Melville, por Poe.»
A. S. Byatt

«Una maravillosa artesana a la que la gente tiende a pasar por alto. Es tan genial e innovadora como Faulkner, García Márquez y Woolf.»
The New York Times

«La mejor obra de Toni Morrison. [...] Muestra su prodigioso talento.»
Chicago Sun-Times

«Si hay una novela con la que empezar a leer a Toni Morrison, es Beloved. [...] Morrison es un tesoro norteamericano.»
Biblioteca Pública de Nueva York

«He terminado una segunda vuelta de Beloved, la misteriosa y tan fascinante novela de Toni Morrison, donde el mundo de los esclavos negros se vuelve un asunto íntimo y a la vez mágico. [...] Y las protagonistas son las mujeres, que todo lo desafían, y son ellas mismas la libertad.»
Sergio Ramírez, Babelia

«Su obra es un bello y significativo desafío a nuestras conciencias y nuestra imaginación moral.»
Barack Obama

«Beloved te hace sentir que todo lo que has escrito es aburrido y sin vida. El nivel de destreza, la perfección y la belleza de las oraciones, el alcance de la imaginación, el orden del lenguaje en torno al dolor indescriptible. Es buenísimo. Además, es nuestra historia de terror más estadounidense. [...] Sé que Morrison no escribía para mí, pero moldeó mi escritura y le estoy eternamente agradecida.»
Carmen María Machado

Una obra maestra de la ganadora del Premio Nobel de Literatura 1993.

Esta es la historia de Sula y Nel, dos niñas que crecen juntas en un barrio de negros, compartiendo sus sueños e ilusiones. Ambas son precoces y curiosas, hijas de familias pobres. Pero el tiempo pasa y, cuando Nel se casa, Sula se marcha del suburbio para ir a la universidad y viajar por el país. Diez años después, Sula regresa e involuntariamente destruye la familia y la felicidad de Nel. A partir de entonces, los pintorescos habitantes del suburbio la consideran una bruja malvada...

Ambientada en los EE.UU. en el período de entreguerras, Sula es un portentoso retrato del poder de lo femenino en una comunidad pobre y rural de negros, donde las mujeres reinan como madres, hechiceras y depositarias de la tradición oral.

Reseña:
«Un aullido de amor y rabia, travieso y divertido, duro y amargo.»
The New York Times

"Makes a valuable contribution to the ever-widening field of Morrison studies by exploring the intricacies of Morrison's African references, giving critics the ability to make more informed readings of the novels."--Canadian Review of American Studies

"A study of African cosmology and epistemology in Morrison’s writings that draws on the academic author's experience in the Kongo and Yoruba traditions."--Chronicle Review

"Addresses a real need: a scholarly and ritually informed reading of spirituality in the work of a major African American author. No other work catalogues so thoroughly the grounding of Morrison’s work in African cosmogonies. Zauditu-Selassie's many readings of Ba Kongo and Yoruba spiritual presence in Morrison's work are incomparably detailed and generally convincing."--Keith Cartwright, University of North Florida

While others have studied the African spiritual ideas and values encoded in Morrison's work, African Spiritual Traditions in the Novels of Toni Morrison is the most comprehensive. In this volume, K. Zauditu-Selassie explores a wide range of complex concepts, including African deities, ancestral ideas, spiritual archetypes, mythic trope, and lyrical prose representing African spiritual continuities. She delves deeply into African spiritual traditions, clearly explaining the meanings of African cosmology and epistemology as manifest in Morrison’s novels.

Zauditu-Selassie is uniquely positioned to write this book, as she is not only a literary critic but also a practicing Obatala priest in the Yoruba spiritual tradition and a Mama Nganga in the Kongo spiritual system. The result is a comprehensive, tour-de-force critical investigation of such works as The Bluest Eye, Sula, Song of Solomon, Tar Baby, Paradise, Love, Beloved, and Jazz.

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The award-winning author of The Good Negress shares invaluable insights on the precarious journey toward creativity that is the writer’s life, and tells the compelling story of her relationship with Toni Morrison, painting an illuminating portrait of this towering yet enigmatic cultural icon.

With the publication of her debut novel The Good Negress in 1995, A. J. Verdelle became an overnight sensation, winning critical acclaim and competing for prestigious literature prizes. But for Verdelle, the most unexpected consequence was the friendship she formed with the legendary Toni Morrison. Receiving an advance copy of the book, the Pulitzer and Nobel prize-winning author—notorious for never giving early praise—called The Good Negress, “Truly Extraordinary.” It was a writer’s dream come true—a dream that for Verdelle would become simultaneously exhilarating and challenging.

Now, twenty-five years later, Verdelle tells the story of that success and what came after. Miss Chloe begins with the story of young Verdelle’s persistent aim to become an author, spending countless pre-dawn hours writing the novel that became The Good Negress. Verdelle then turns to the heady period after publication, focusing on her relationship with Toni—a precious gift that was most of the time a grace and a blessing, and at other times, confusing and too separate from literature. While Morrison continued to rise as an icon, Verdelle’s writing career took a sharp turn. Verdelle’s next novel—a Western featuring Black characters—is quickly bought by a young editor who leaves for another job before the manuscript is finished. Searching for direction, Verdelle moves to another publisher. Yet this second book will languish for more than fifteen years. In chronicling her journey, Verdelle offers an honest assessment of what it means to be a writer, including the expectations and let downs that famous friendships do not defray.

Miss Chloe ends with the period after Morrison has passed away, when Verdelle is left to face the reality of her writing career, pondering what it means to have promise that is yet to materialize. She finds comfort in advice Morrison offered over the years, insight she shares in this wise book. “In order for Morrison to take you seriously, to have patience with you, to be interested, you had to be able to hear her,” Verdelle writes. “You had to be able to sit still and listen. You had to be able to pipe up in the pauses, and prove you understood. You needed demonstrate that language was a skill you had, that Black culture was known to you and respected by you.” 

Toni Morrison's definitive edition of James Baldwin's incomparable nonfiction.

Contains all the major essays collections in their entirety, plus 36 uncollected essays.

James Baldwin was a uniquely prophetic voice in American letters. His brilliant and provocative essays made him the literary voice of the Civil Rights Era, and they continue to speak with powerful urgency to us today, whether in the swirling debate over the Black Lives Matter movement or in the words of Raoul Peck's documentary "I Am Not Your Negro." Edited by Nobel laureate Toni Morrison, the Library of America's Collected Essays is the most comprehensive gathering of Baldwin's nonfiction ever published.

With burning passion and jabbing, epigrammatic wit, Baldwin fearlessly articulated issues of race and democracy and American identity in such famous essays as "The Harlem Ghetto," "Everybody's Protest Novel," "Many Thousands Gone," and "Stranger in the Village." Here are the complete texts of his early landmark collections, Notes of a Native Son (1955) and Nobody Knows My Name (1961), which established him as an essential intellectual voice of his time, fusing in unique fashion the personal, the literary, and the political.

The classic The Fire Next Time (1963), perhaps the most influential of his writings, is his most penetrating analysis of America's racial divide and an impassioned call to "end the racial nightmare...and change the history of the world." The later volumes No Name in the Street (1972) and The Devil Finds Work (1976) chart his continuing response to the social and political turbulence of his era and include his remarkable works of film criticism. A further 36 essays—nine of them previously uncollected—include some of Baldwin's earliest published writings, as well as revealing later insights into the language of Shakespeare, the poetry of Langston Hughes, and the music of Earl Hines.

LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

Here, in a Library of America volume edited by Nobel laureate Toni Morrison, is the fiction that established James Baldwin's reputation as a writer who fused unblinking realism and rare verbal eloquence. His first novel, Go Tell It on the Mountain (1953), tells the story, rooted in Baldwin's own experience, of a preacher's son coming of age in 1930's Harlem. Ten years in the writing, its exploration of religious, sexual, and generational conflicts was described by Baldwin as "an attempt to exorcise something, to find out what happened to my father, what happened to all of us." Giovanni's Room (1956) is a searching, and in its day controversial, treatment of the tragic self-delusions of a young American expatriate at war with his own homosexuality. Another Country (1962), a wide-ranging exploration of America's racial and sexual boundaries, depicts the suicide of a gifted jazz musician and its ripple effect on those who knew him. Complex in structure and turbulent in mood, it is in many ways Baldwin's most ambitious novel. Going to Meet the Man (1965) collects Baldwin's short fiction, including the masterful "Sonny's Blues," the unforgettable portrait of a jazz musician struggling with drug addiction in which Baldwin came closest to defining his goal as a writer: "For, while the tale of how we suffer, and how we are delighted, and how we may triumph is never new, it must be heard. There isn't any other tale to tell, it's the only light we've got in all this darkness."

LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

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A poignant, unflinching study of black grief as a form of elegy found in visual art, music, literature—everywhere, if you know how to see it.

In Black Elegies, Kimberly Juanita Brown examines the form of the elegy and its unique capacity to convey the elongated grief borne of sustained racial violence. Structured around the sensorial, the book moves through sight, sound, and touch to reveal what Okwui Enwezor calls the “national emergency of black grief.” With her characteristic literary skill, Brown analyzes the work of major figures including Toni Morrison, Carrie Mae Weems, Audre Lorde, and Marvin Gaye, among others.

Brown contemplates recognizable sites of mourning: forced migration and enslavement, bodily violations, imprisonment and death. And she examines sites that do not register immediately as archives of grief: the landscape of southern U.S. slave plantations, a spontaneous street party, a quilt constructed out of the clothing worn by a loved one, a dance performance to hold the memory of history, and an aeolian harp installed at an institute of European art, among others. In this, the book offers a framework of mourning while black, within the parameters of contemporary artistic production. Brown asks: How do you mourn those you are not supposed to see? And where does the grief go? She shows us that grief is everywhere: “It spills out of photographs and modulates music. It hovers in the tenor and tone of cinematic performances. It resides in the body like an inspired concept, waiting for its articulation.”

From award-winning author and creative writing professor at Tulane University comes an intimate and powerful memoir exploring inherited trauma, family secrets, and the enduring bonds of love between mothers and daughters.

On her second birthday in 1967, Bernice McFadden died in a car crash near Detroit, only to be resuscitated after her mother pulled her from the flaming wreckage. Firstborn Girls traces her remarkable life from that moment up to the publication of her first novel, Sugar.

Growing up in 1980s Brooklyn, Bernice finds solace in books, summer trips to Barbados, and boarding school to escape her alcoholic father. Discovering the works of Alice Walker and Toni Morrison, she finally sees herself and her loved ones reflected in their stories of “messy, beautiful, joyful Black people.”

Interwoven with Bernice's personal journey is her family's history, beginning with her four-times enslaved great-grandmother Louisa Vicey Wilson in 1822 Hancock County, Georgia. Her descendants survived Reconstruction and Jim Crow, joined the Great Migration, and mourned Dr. King’s assassination during the Civil Rights Movement. These women's wisdom, secrets, and fierce love are passed down like Louisa's handmade quilt.

A memoir of many threads, Firstborn Girls is an extraordinarily moving portrait of a life shaped by family, history, and the drive to be something more.

This unique volume provides each writers reflection on her work, an evaluation of that writer by two perceptive critics, and detailed biographical and bibliographical data.  Included are Maya Angelou, Toni Cade Bambara, Nikki Giovanni, Toni Morrison, Alice Walker, and ten other outstanding writers.

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NATIONAL BESTSELLER • A New York Times Notable Book • This fiery and provocative novel from the acclaimed Nobel Prize winner weaves a tale about the way the sufferings of childhood can shape, and misshape, the life of the adult.

At the center: a young woman who calls herself Bride, whose stunning blue-black skin is only one element of her beauty, her boldness and confidence, her success in life, but which caused her light-skinned mother to deny her even the simplest forms of love. There is Booker, the man Bride loves, and loses to anger. Rain, the mysterious white child with whom she crosses paths. And finally, Bride’s mother herself, Sweetness, who takes a lifetime to come to understand that “what you do to children matters. And they might never forget.”