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.”

“This debut has it all: music, books, aliens, adventure, resistance, queerness, and a bold heroine tying it all together. ”—Ms. Magazine

Can a girl who risks her life for books and an Ilori who loves pop music work together to save humanity?

When a rebel librarian meets an Ilori commander…

Two years ago, a misunderstanding between the leaders of Earth and the invading Ilori resulted in the death of one-third of the world’s population. Today, seventeen-year-old Ellie Baker survives in an Ilori-controlled center in New York City. All art, books and creative expression are illegal, but Ellie breaks the rules by keeping a secret library.

When young Ilori commander Morris finds Ellie’s illegal library, he’s duty-bound to deliver her for execution. But Morris isn’t a typical Ilori…and Ellie and her books might be the key to a desperate rebellion of his own.

Join us for our monthly adult book club.  Our July pick is Things We Couldn't Say by Jay Coles. 

Book club will happen on Sunday, July 31 at 2:00 PM  in our reading garden.  RSVP required.  See ya'll there!

About The Book

From one of the brightest and most acclaimed new lights in YA fiction, a fantastic new novel about a bi Black boy finding first love . . . and facing the return of the mother who abandoned his preacher family when he was nine.

There's always been a hole in Gio's life. Not because he's into both guys and girls. Not because his father has some drinking issues. Not because his friends are always bringing him their drama. No, the hole in Gio's life takes the shape of his birth mom, who left Gio, his brother, and his father when Gio was nine years old. For eight years, he never heard a word from her . . . and now, just as he's started to get his life together, she's back.

It's hard for Gio to know what to do. Can he forgive her like she wants to be forgiven? Or should he tell her she lost her chance to be in his life? Complicating things further, Gio's started to hang out with David, a new guy on the basketball team. Are they friends? More than friends? At first, Gio's not sure . . . especially because he's not sure what he wants from anyone right now.

There are no easy answers to love -- whether it's family love or friend love or romantic love. 

“This singular memoir stunned me. With a poet’s precision, Rachel Eliza Griffiths renders two interwoven tragedies few others could have lived through, much less written about with such clear-eyed candor.”—Mary Karr, New York Times bestselling author of The Liars’ Club

On September 24, 2021, Rachel Eliza Griffiths married her husband, the novelist Salman Rushdie. On the same day, hundreds of miles away, Griffiths’ closest friend and chosen sister, the poet Kamilah Aisha Moon, who was expected to speak at the wedding, died suddenly. Eleven months later, as Griffiths attempted to piece together her life as a newlywed with heartbreak in one hand and immense love in the other, a brutal attack nearly killed her husband. As trauma compounded trauma, Griffiths realized that in order to survive her grief, she would need to mourn not only her friend, but the woman she had been on her wedding day, a woman who had also died that day.

In the process of rebuilding a self, Griffiths chronicles her friendship with Moon, the seventeen years since their meeting at Sarah Lawrence College. Together, they embraced their literary foremothers—Lucille Clifton, Toni Morrison, Alice Walker, to name a few—and fought to embrace themselves as poets, artists, and Black women. Alongside this unbreakable bond, Griffiths weaves the story of her relationship with Rushdie, of the challenges they have faced and the unshakeable devotion that endures.

In The Flower Bearers, Griffiths inscribes the trajectories of two transformational relationships with grace and honesty, chronicling the beauty and pain that comes with opening oneself fully to love.

With the same intellectual incisiveness and supple, stylish prose he brought to his classic novel Invisible Man, Ralph Ellison examines his antecedents and in so doing illuminates the literature, music, and culture of both black and white America. His range is virtuosic, encompassing Mark Twain and Richard Wright, Mahalia Jackson and Charlie Parker, The Birth of a Nation and the Dante-esque landscape of Harlem—“the scene and symbol of the Negro’s perpetual alienation in the land of his birth.” Throughout, he gives us what amounts to an episodic autobiography that traces his formation as a writer as well as the genesis of Invisible Man.

On every page, Ellison reveals his idiosyncratic and often contrarian brilliance, his insistence on refuting both black and white stereotypes of what an African American writer should say or be. The result is a book that continues to instruct, delight, and occasionally outrage readers.

Percival Everett's blistering satire about race and publishing, now adapted for the screen as AMERICAN FICTION, directed by Cord Jefferson and starring Jeffrey Wright and Tracee Ellis Ross

Thelonious "Monk" Ellison's writing career has bottomed out: his latest manuscript has been rejected by seventeen publishers, which stings all the more because his previous novels have been "critically acclaimed." He seethes on the sidelines of the literary establishment as he watches the meteoric success of We's Lives in Da Ghetto, a first novel by a woman who once visited "some relatives in Harlem for a couple of days." Meanwhile, Monk struggles with real family tragedies―his aged mother is fast succumbing to Alzheimer's, and he still grapples with the reverberations of his father's suicide seven years before.

In his rage and despair, Monk dashes off a novel meant to be an indictment of Juanita Mae Jenkins's bestseller. He doesn't intend for My Pafology to be published, let alone taken seriously, but it is―under the pseudonym Stagg R. Leigh―and soon it becomes the Next Big Thing. How Monk deals with the personal and professional fallout galvanizes this audacious, hysterical, and quietly devastating novel.

A fun and fact-filled introduction to the dismissed Black art masters and models who shook up the world.

Elegant. Refined. Exclusionary. Interrupted. The foundations of the fine art world are shaking. Beyoncé and Jay-Z break the internet by blending modern Black culture with fine art in their iconic music video filmed in the Louvre. Kehinde Wiley powerfully subverts European masterworks. Calls resonate for diversity in museums and the resignations of leaders of the old guard. It’s clear that modern day museums can no longer exist without change—and without recognizing that Black people have been a part of the Western art world since its beginnings. Quietly held within museum and private collections around the world are hundreds of faces of Black men and women, many of their stories unknown. From paintings of majestic kings to a portrait of a young girl named Isabella in Amsterdam, these models lived diverse lives while helping shape the art world along the way. Then, after hundreds of years of Black faces cast as only the subject of the white gaze, a small group of trailblazing Black American painters and sculptors reached national and international fame, setting the stage for the flourishing of Black art in the 1920s and beyond. Captivating and informative, BLK ART is an essential work that elevates a globally dismissed legacy to its proper place in the mainstream art canon. From the hushed corridors of royal palaces to the bustling streets of 1920s Paris—this is Black history like never seen before.

With a New Introduction and Notes by Henry Louis Gates, Jr. and Richard J. Ellis

A fascinating fusion of two literary models of the nineteenth century, the sentimental novel and the slave narrative, Our Nig, apart from its historical significance, is a deeply ironic and highly readable work, tracing the trials and tribulations of Frado, a mulatto girl abandoned by her white mother after the death of the child's black father, who grows up as an indentured servant to a white family in nineteenth-century Massachusetts.

This definitive edition of Our Nig includes a new Introduction by Henry Louis Gates, Jr. and Richard J. Ellis and a set of appendices:  "Harriet Wilson's Career as a Spiritualist";  "Hattie E. Wilson in the Banner of Light and Spiritual Scientist" a collection of her extant contributions to these newspapers;  "Documents from Harriet Wilson's Life in Boston," and a compilation of primary source material relating to Wilson's identity.  There is also a new chronology of the life of Harriet Wilson by Richard J. Ellis, as well as an up-to-date Select Bibliography of current scholarship regarding Harriet Wilson. This edition gives the fullest account to date of the life of Harriet Wilson, filling out many critical points regarding her life after writing Our Nig, in particular when she became a "medium" who communicated with the dead and as an educator in the "Spiritualist" movement after the Civil War.

Celebrate Christmas with this unique retelling of the Nativity story featuring Jesus as a melanated baby in a story that’s rich with Scripture, historical accuracy, and a multicultural weaving of love—from the author of Crowned with Glory.

Like Moses, brown baby Jesus would be a deliverer. Like Rahab, brown baby Jesus would save His people from destruction. Like David, brown baby Jesus would rule as a great king. Like the colorful threads that make up a beautiful cloth, Brown Baby Jesus brings together the characters and stories leading to Jesus—showing how God included many races and nations in the story we celebrate each year.

With an unconventional Christmas setting of Egypt and written in sweet, lyrical prose, Brown Baby Jesus is sure to become a holiday classic embraced by families of all races and backgrounds.

*ships in 7-10 business days*

Max and Jay depend on each other. Growing up in Minnesota with a physically abusive father, the two Bribri American brothers have learned to protect themselves and their mom by keeping their heads down.

But when they hear a classmate in trouble in the woods, instinct takes over and they break up a fight, harming their school's star soccer player in the process. This act of violence threatens the brothers' dreams for the future. As the true details of that fateful afternoon unfold, Max and Jay grapple with the weight of their actions. They'll have to reach back to their Bribri roots to find their way forward.

Told in alternating points of view, using vignettes and poems, debut author Ari Tison crafts an emotional, slow-burning drama that will take your breath away.

The autobiography of the godfather of urban streetwear, American fashion designer and hip-hop cultural icon, Karl Kani whose clothes were worn by everyone from Michael Jackson to Tupac, Aaliyah to Biggie, and Nas to Jay-Z.

Karl Kani tells the story of how Karl Kani created the first quintessential fashion brand of the hip-hop generation. Like the genre that became a soundtrack to the clothes Kani designed, Karl’s brand went from local mom and pop stores in Brooklyn to national recognition and international renown.

Following Kani’s ascension as a Costa Rican immigrant striving to make a name for himself, Karl Kani also tracks parallels between how the fashion, like the music of Black and Brown kids living in the inner cities, went from marginalized subculture to the mainstream. And while there is always a price for gaining mainstream recognition and the material success that invariably follows, there’s an even heftier expense for those who refuse to compromise one’s own brand and principles to gain that entry.

Once hip-hop became a billion-dollar industry and one of America’s most lauded and coveted cultural exports, many of the fashion brands that would’ve never approached rap artists before began granting access to the upper echelons of luxury fashion. As a result, many of hip-hop’s flagship brands cashed in big payouts—Rocawear, Sean John, FUBU, Mecca, Enyce, Phat Farm, G-Unit. Karl Kani was one of the few, if not only, designers who saw that his name, the culture it represented, and the business he built was worth keeping.

Karl Kani is both a cautionary tale and an inspirational one about the price to keep one’s name in an industry looking to cash out, and how Kani continues to find an international audience for his clothes as he’s being pushed out of the American market in favor of European brands that illustrate the shift in the fashion world. Karl Kani refused to sell out, paid a price for ownership, and weathered to storm to be one of the few legacy hip-hop clothing brands to have contemporary cultural relevance.

The Subtle Art of Folding Space, is the exhilarating debut science fiction novel from Nebula and Hugo Award-winning author John Chu channels unhinged physics, generational trauma, and the comfort of really good dim sum. This isn't your usual jaunt through quantum physics.

Ellie’s universe, and this one, is falling apart. Her ailing mother is in a coma; her sister, Chris, accuses her of being insufficiently Chinese between assassination attempts; and a shadowy cabal of engineers is trying to hijack the skunkworks, the machinery that keeps the physics of each universe working the way it’s supposed to.

Daniel, Ellie's cousin, has found an illicit device in the skunkworks―one that keeps Ellie's comatose mother alive while also creating destabilizing bugs in the physics of this universe. It's not a good day.

If she can confront her mother’s legacy and overcome her family’s generational trauma, she just might find a way to preserve the skunkworks and reconcile with her sister…but digging into her family’s past is thornier than it seems, and the secrets she uncovers will force Ellie to choose between her family and the universe itself.