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Set in the universe Africanfuturist luminary Nnedi Okorafor first introduced in the World Fantasy Award-winning Who Fears Death, One Way Witch is the second in the She Who Knows trilogy

The world has forgotten Onyesonwu.

As a teen, Najeeba learned to become the beast of wind, fire and dust: the kponyungo. When that took too much from her, including the life of her father, she let it all go, and for a time, she was happy — until only a few years later, when the small, normal life she’d built was violently destroyed.

Now in her forties and years beyond the death of her second husband, Najeeba has just lost her beloved daughter. Onyesonwu saved the world. Najeeba knows this well, but the world does not. This is how the juju her daughter evoked works. One other person who remembers is Onyesonwu’s teacher Aro, a harsh and hard-headed sorcerer. Najeeba has decided to ask him to teach her the Mystic Points, the powerful heart of sorcery. There is something awful Najeeba needs to kill and the Mystic Points are the only way. Najeeba is truly her daughter’s mother.

When Aro agrees to help, Najeeba is at last ready to forge her future. But first, she must confront her past — for certain memories cannot lie in unmarked graves.

When tensions veer between hope and despair, the ensuing fracture can swing like a scythe and cut a ragged seam between past and present. In One Wild Word Away, Geffrey Davis weaves a deft set of poems about illness, family, loss, and rebirth. The luxurious sonics and crisp descriptions in each line are haunted by grief and buoyed by love as the speaker confronts generational trauma and the potential loss of a loved one while in the process of raising his own son.

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At age nineteen, Natasha Trethewey had her world turned upside down when her former stepfather shot and killed her mother. Grieving and still new to adulthood, she confronted the twin pulls of life and death in the aftermath of unimaginable trauma and now explores the way this experience lastingly shaped the artist she became.

With penetrating insight and a searing voice that moves from the wrenching to the elegiac, Pulitzer Prize–winning poet Natasha Trethewey investigates this profound experience of pain, loss, and grief as an entry point into understanding the tragic course of her mother’s life and the way her own life has been shaped by a legacy of fierce love and resilience. Moving through her mother’s history in the deeply segregated South and through her own girlhood as a “child of miscegenation” in Mississippi, Trethewey plumbs her sense of dislocation and displacement in the lead-up to the harrowing crime that took place on Memorial Drive in Atlanta in 1985.

Memorial Drive is a compelling and searching look at a shared human experience of sudden loss and absence but also a piercing glimpse at the enduring ripple effects of white racism and domestic abuse. Animated by unforgettable prose and inflected by a poet’s attention to language, this is a luminous, urgent, and visceral memoir from one of our most important contemporary writers and thinkers.

Each book pre-ordered with Kindred Stories will include a signed custom bookplate from Tabitha Brown. You must order prior to the book's on-sale date of January 19, 2027.  Available while supplies last.

America’s Mom, New York Times bestselling author, NAACP Award-winning personality, Emmy-winning host, and actress Tabitha Brown, is back with a heartwarming children’s book about hope, faith, and the beauty of the unseen.

Young Tabitha makes a wish, but she can’t see it. So, she wonders if wishes are real and what makes them come true…

That’s when Tab and Mama spend a day in the park, and she soon realizes that wishes—like most of the world’s invisible delights—come to life with a little bit of faith and a whole lot of love.

The #1 New York Times bestselling team behind Hello There, Sunshine, Tabitha Brown and Olivia Duchess, returns with a beautiful lyrical story, that will remind children everywhere about the magic of a single wish. 

• Beautiful lyricism paired with stunning artwork: the lush rhymes and artwork will please tiny readers who are fans of Tabitha’s previous books, as well as children’s books by Emily Winfield Martin and Joanna Gaines.
• Follow up to a New York Times bestseller: you can expect the same quality of storytime from the dynamic duo who brought you the bestseller, Hello There, Sunshine!
• Great lullaby for bedtime: with its soothing rhythm and starry scenes, this is a perfect pick for anytime, but especially for bedtime reading sessions.
• A light message about God’s love: littles will learn about how God’s love, faith, and prayer all have to do with wish fulfillment.

New Yorker Mara Bader moves to Zambia to teach teens Lifeskillz through soccer. Zambia offers her everything she was missing from her life in America–a sense of community and humanity. Enchanted, Mara wants to be Zambian. She learns to cook nshima like her Zambian sisters, dresses in local fabrics and falls in love with the charming, unpredictable son of an ex-minister.

Kezzy unlocks the door to Zambian culture for her, in more ways than one. They marry, with two sons following in short order. Six years later, and Mara’s already an expert in ignoring the click click click sound coming from behind the bathroom door as Kezzy texts his girlfriend. When Loveness, his mistress, confronts her, Mara makes an unusual, ill-fated choice.

Salaula Sisters explores the vagaries of modern-day Zambia, a cross-cultural marriage, and an unusual alliance.

The magic-school adventures of The Marvellers meets the emotional coming-of-age stories of Erin Entrada Kelly in this middle grade fantasy about a young girl who discovers she is the next savior of her generation as an ancient evil arises.

Dominique has one sole focus—to be a gold medal Olympian when she’s older—so she doesn’t have time for any distractions if she wants to qualify for her team's upcoming State finals. But her goals come to speeding halt when she is attacked by a mysterious shadow monster at the most important track meet of her life, and she is invited to St. John’s Academy, a prestigious magic school for conjurers.

Suddenly, Dominique is thrusted into a major battle between the forces of good and evil. She learns that her magic has been manifesting right when High John the Conqueror, the schools almighty protector disappeared, leaving the school vulnerable to chaosbringers—demons of destruction. Now, the students and faculty at St. John’s sees their next great hero in Dominique. Black girl magic is one thing, but Black girl savior? Not exactly what she signed up for. All she cares about it making her next track meet.

Yet as more chaosbringers attack St. John's, drawn to her lack of control of her own power, Dominique knows she can't just sit still. But she'll need to stop sprinting long enough to decide if she's racing towards her destiny, or running from it.

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Anwuli Okwudili prefers to be called AO. To her, these initials have always stood for Artificial Organism. AO has never really felt…natural, and that’s putting it lightly. Her parents spent most of the days before she was born praying for her peaceful passing because even in-utero she was “wrong”. But she lived. Then came the car accident years later that disabled her even further. Yet instead of viewing her strange body the way the world views it, as freakish, unnatural, even the work of the devil, AO embraces all that she is: A woman with a ton of major and necessary body augmentations. And then one day she goes to her local market and everything goes wrong.

Once on the run, she meets a Fulani herdsman named DNA and the race against time across the deserts of Northern Nigeria begins. In a world where all things are streamed, everyone is watching the “reckoning of the murderess and the terrorist” and the “saga of the wicked woman and mad man” unfold. This fast-paced, relentless journey of tribe, destiny, body, and the wonderland of technology revels in the fact that the future sometimes isn’t so predictable. Expect the unaccepted.

In a collection of linked tales filled with irony, humor, and magic, Talking with Boys introduces an unforgettable cast of characters in the Pakistani diaspora in Houston navigating crises of their own making and beyond their control.

Via generations and geographies, the stories expand from Houston into tales from the characters’ pasts in Dubai and Lahore. A community of Pakistani immigrants distract ICE with unlikely bait. A housekeeper in a Dubai mansion plots to liberate her fellow indentured workers. In Lahore, an empty nester finds herself bound by more than a jinxed bracelet. Throughout, Tayyba Kanwal’s remarkable characters navigate economic upheavals, political turmoil, and personal betrayals to pursue love, plot for survival, and play subtle power games to triumph against patriarchal forces of all genders.

A comprehensive look at the early career of a rising star in contemporary Black portraiture

This is the first monograph on the practice of young American painter Khalif Tahir Thompson (born 1995), who will receive an MFA from the Yale School of Art in the spring of 2024. With several solo exhibitions and artwork in museum permanent collections, Thompson is already prolific. His paintings are populated by Black figures set in colorful, shimmering environments that sometimes resemble patchworks verging on abstraction. They incorporate multiple materials apart from oil and acrylic, including handmade paper, pearls, fabric, velvet, newspaper and leather. Whether isolated or in a group, candid or posed, each figure is imbued with an innate identity. Says Thompson of his work: "I believe painting can be a tool in considering the emotional, psychological complexity of an individual's story and identity ... I alter perception and invoke empathy towards my subjects, depicting their reality across a visceral lens."

A modern classic from the Booker-shortlisted author of This Mournable Body

The groundbreaking first novel in Tsitsi Dangarembga’s award-winning trilogy, Nervous Conditions, won the Commonwealth Writers Prize and has been “hailed as one of the 20th century’s most significant works of African literature” (The New York Times). Two decades before Zimbabwe would win independence and ended white minority rule, thirteen-year-old Tambudzai Sigauke embarks on her education. On her shoulders rest the economic hopes of her parents, siblings, and extended family, and within her burns the desire for independence. She yearns to be free of the constraints of her rural village and thinks she’s found her way out when her wealthy uncle offers to sponsor her schooling. But she soon learns that the education she receives at his mission school comes with a price.

Making Freedom Work tells the stories of five free women of color in antebellum New Orleans. The lives of Eulalie Mandeville, Henriette Delille, Marie Couvent, Cécille Bonille, and Marie Dolores Laveaux reveal the economic, legal, and cultural strategies free Black women used to move through a racially stratified, patriarchal slave society. Janet Morrison argues that free women of color could play a crucial role in the city’s economic, religious, and communal life, even as they navigated and contested the restraints placed upon them by their race and gender. Foregrounding the voices of these women and their families, Morrison recovers stories that have long been marginalized in New Orleans history.

During a period of profound transformation in New Orleans―including French and Spanish colonial legacies, imposed American racial hierarchies after the Louisiana Purchase, and increased mobility within the Atlantic world―these five women found numerous ways to exercise their agency in a world that was not designed for them. They owned businesses, accumulated property, pursued litigation, engaged in philanthropy, and provided religious leadership, all while building durable networks of care, education, and spirituality. Avoiding the dangers of outright rebellion, the women employed strategies of gendered resistance―refusal, adaptation, collaboration―that often proved very successful, carving out space for survival in ways that confounded societal expectations of who they could be and what they could accomplish.

Morrison draws on a rich trove of archival sources such as censuses, city directories, notarial records, wills, successions, and court cases. Recognizing that these records were produced within white-controlled bureaucratic systems, Making Freedom Work attends closely to both their evidentiary value and their silences. It also confronts the complexities of slaveholding by free people of color, interpreting it as part of a broader struggle for security, status, and distance from enslavement, while emphasizing the uneven and contingent relationships between enslavers and the enslaved.

Making Freedom Work reintroduces these women―so often dismissed and devalued in their own time―as central historical actors, highlighting their influence as entrepreneurs, community builders, educators, and mothers of the next generation.