Afrocentrism. Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, The Black Atlantic also complicates and enriches our understanding of modernism.

Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the “double consciousness” of W. E. B. Du Bois to the “double vision” of Richard Wright to the compelling voice of Toni Morrison.

In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic.

Within the Circle is the first anthology to present the entire spectrum of twentieth-century African American literary and cultural criticism. It begins with the Harlem Renaissance, continues through civil rights, the Black Arts Movement, and on into contemporary debates of poststructuralist and black feminist theory. Drawing on a quote from Frederick Douglass for the title of this book, Angelyn Mitchell explains in her introduction the importance for those "within the circle" of African American literature to examine their own works and to engage this critical canon.
The essays in this collection—many of which are not widely available today—either initiated or gave critical definition to specific periods or movements of African American literature. They address issues such as integration, separatism, political action, black nationalism, Afrocentricity, black feminism, as well as the role of art, the artist, the critic, and the audience. With selections from Langston Hughes, Sterling Brown, W. E. B. DuBois, Zora Neale Hurston, Richard Wright, James Baldwin, Toni Morrison, Barbara Smith, Alice Walker, Henry Louis Gates, Jr., and many others, this definitive collection provides a dynamic model of the cultural, ideological, historical, and aesthetic considerations in African American literature and literary criticism.
A major contribution to the study of African American literature, this volume will serve as a foundation for future work by students and scholars. Its importance will be recognized by all those interested in modern literary theory as well as general readers concerned with the African American experience.

Selections by (partial list): Houston A. Baker, Jr., James Baldwin, Sterling Brown, Barbara Christian, W. E. B. DuBois, Ralph Ellison, LeRoi Jones, Sarah Webster Fabio, Henry Louis Gates, Jr., W. Lawrence Hogue, Langston Hughes, Zora Neale Hurston, Alain Locke, Deborah E. McDowell, Toni Morrison, J. Saunders Redding, George Schuyler, Barbara Smith, Valerie Smith, Hortense J. Spillers, Robert B. Stepto, Alice Walker, Margaret Walker, Mary Helen Washington, Richard Wright

A Most Anticipated Book of 2026 by PEN America, Lit Hub, BookPage, and Ms. Magazine

The wife of a popular and powerful megachurch pastor upends her charmed “rags-to-Rolex” life when her secret past comes roaring into the spotlight—in this "funny and juicy and sexy and delicious peek behind the pulpit" (Samantha Irby) from the acclaimed and beloved author of The Secret Lives of Church Ladies.

From the moment Scharisse Freeman ditched her humble roots and married a megachurch pastor fifteen years her senior, she’s been labeled too brash and too “of the world” by church folks who grudgingly accepted her into their fold, and too holy by her estranged childhood bestie Petra. Schar doesn’t have many allies, but that hasn’t stopped her from building an enviable business empire spanning books to clothing to branded products, and living the comfortable life her husband's power affords her.

On the eve of her 40th birthday, Schar gets the final bit of validation she’s always dreamt of: a coveted invitation to participate in the First Lady USA pageant. This is her chance to be accepted by the other pastors’ wives—First Ladies—who are “like Jesus’ disciples if they had been a group of mean girls.” Finally, blissfully, the ice between Schar and the other First Ladies begins to thaw.

But as the pageant nears, a sensational scandal breaks with Schar at its center, and her carefully curated life implodes. Schar faces down shame and terrible secrets from her childhood and is reminded that in the eyes of the church, optics can matter more than the truth.

Unflinchingly funny, frank, and packed with surprising turns, The True Confessions of First Lady Freeman exults in the luscious, messy pleasure of finally feeling free.

"Deesha Philyaw has already established herself as one of the greatest short story writers, but in The True Confessions of First Lady Freeman she cements herself as the most soulfully entertaining writer of her era." - Kiese Laymon, author of Heavy and Long Division

A fascinating, first-person account of a historic era in the struggle for black empowerment in America.

Long an iconic figure for radicals, Huey Newton is now being discovered by those interested in the history of America's social movements. Was he a gifted leader of his people or a dangerous outlaw? Were the Black Panthers heroes or terrorists?

Whether Newton and the Panthers are remembered in a positive or a negative light, no one questions Newton's status as one of America's most important revolutionaries. To Die for the People is a recently issued classic collection of his writings and speeches, tracing the development of Newton's personal and political thinking, as well as the radical changes that took place in the formative years of the Black Panther Party.

With a rare and persuasive honesty, To Die for the People records the Party's internal struggles, rivalries and contradictions, and the result is a fascinating look back at a young revolutionary group determined to find ways to deal with the injustice it saw in American society. And, as a new foreword by Elaine Brown makes eminently clear, Newton's prescience and foresight make these documents strikingly pertinent today.

Huey Newton was the founder, leader and chief theoretician of the Black Panther Party, and one of America’s most dynamic and important revolutionary philosophers.

"Huey P. Newton's To Die for the People represents one of the most important analyses of the politics of race, black radicalism, and democracy written during the civil rights-Black Power era. It remains a crucial and indispensible text in our contemporary efforts to understand the continuous legacy of social movements of the 1960s and 1970s."
—Peniel Joseph, author of Waiting Til the Midnight Hour: A Narrative History of Black Power in America

"Huey P. Newton's name, and more importantly, his history of resistance and struggle, is little more than a mystery for many younger people. The name of a third-rate rapper is more familiar to the average Black youth, and that's hardly surprising, for the public school system is invested in ignorance, and Huey P. Newton was a rebel — and more, a Black Revolutionary . . . who gave his best to the Black Freedom movement; who inspired millions of others to stand."
—Mumia Abu Jamal, political prisoner and author of Jailhouse Lawyers

"Newton's ability to see theoretically, beyond most individuals of his time, is part of his genius. The opportunity to recognize that genius and see its applicability to our own times is what is most significant about this new edition."
—Robert Stanley Oden, former Panther, Professor of Government, California State University, Sacramento

In this part-memoir, part-manifesto, an acclaimed poet interprets Black radical literary traditions to reimagine freedom through refusal.

“In these fierce yet tender pages, Camonghne Felix reveals how imagination can become a form of governance—an instrument for creating a world rooted in care, community, and radical possibility.”—Michelle Alexander, New York Times bestselling author of The New Jim Crow

Over the past decade, Camonghne Felix has been at the center of American politics, working in strategy, communications, and as a speechwriter. Throughout it all, she has maintained her unwavering belief in language’s foundational revolutionary potential, outside of its deployment for legislative and political ends. In this groundbreaking work of nonfiction, she argues that Black radical poetic traditions model an ethical code and overcome entrenched structures of patriarchy and paternalism, inventing a new form that examines the historical and legislative, and the personal and poetic.

Felix draws on stories from her life in campaigns and the decisions she has had to make: preparing speeches for candidates, responding to harassment, recruiting staff. She recounts her moving personal history—accompanying her mother, a lawyer, to court, and her father, a participant in the Grenadian revolution of 1983, to protests—as well as her coming-of-age being schooled in a wider tradition of Black radical thinkers, from Gwendolyn Brooks to Audre Lorde.

Through rupture, rhythm, and a refusal of politics as usual, Let the Poets Govern encourages us to hold ourselves to the standards of our highest ideals and embraces our shared humanity.

The empowering story of how Thurgood Marshall's childhood paved the way for his future as the first African American Supreme Court Justice.

Before he opened his first law book, Thurgood Marshall was a prankster in school, trying his teachers' patience and doing only enough work to get by. Before he waged war against injustice, Thurgood watched his uncles go off to World War I and return to a country that refused to honor them. Before he represented underdogs in court, Thurgood watched the police station outside his classroom window, seeing the officers' brutal treatment of Black prisoners. Before he made history as the first African American Supreme Court Justice, Thurgood Marshall was a normal kid with a quick wit, inquiring mind, and ready rebuttal. No one told him that he could be a lawyer. But his family and teachers shaped him into one.

Young People's Poet Laureate and Children's Literature Legacy Award winner Carole Boston Weatherford and award-winning illustrator Gordon C. James tell the inspiring true story of how one tough, compassionate, gutsy boy grew up to become a groundbreaker, history-maker, and all-around legend.

Perfect for readers looking for:
- Inspiring stories about American legends
- Childhood experiences of groundbreaking adults
- Books about the Civil Rights movement

The defining and uncompromising memoir from Super Bowl quarterback and renowned Civil Right activist, Colin Kaepernick.

On September 1, 2016, Colin Kaepernick took a knee during the national anthem, but the world has never fully understood the whole story. Not the "why." Not what it cost. Not what it took to become the man who was ready for that moment.

That story begins in Turlock, California, where Kaepernick, a Black kid adopted into a white family, spent his earliest years navigating an identity the world around him didn't always know how to hold. Everything that connected him to who he truly was--his Blackness, his culture, his sense of self--was met with resistance. Sports became his refuge and his proving ground. On the field, his talent could not be questioned, minimized, or taken from him. It was the one space that was entirely his. And what that space produced was extraordinary: a quarterback whose arm and instincts would carry him to the Super Bowl and into the history books.

But success brought with it an education he hadn't anticipated. He began to see the NFL not just as a league, but as a mirror of American capitalism, of racial exploitation, of a country that celebrated Black entertainment and criminalized Black lives in the same breath. He had been reading: Malcolm X. Muhammad Ali. Huey P. Newton. Angela Davis. He had been watching. And what he saw in the NFL, in Turlock, in the repeated, unpunished killing of Black and Brown Americans by the very systems claiming to protect them, converged into an undeniable truth: this was not someone else's fight. It was his. It is ours.

When Kaepernick knelt, he was not acting on impulse. He was acting on years of becoming, of absorbing, reckoning, and refusing to look away. In response, the NFL blackballed him, the country revealed its true self, and the man who had spent his whole life earning his place chose, deliberately, to risk all of it for something larger than himself.

But in the ten years since he took a knee, the questions his protest raised about race, power, identity, and the courage it takes to fight for a more equitable world have not gone away. They are the questions of our time. They are the questions this book answers.

In THE PERILOUS FIGHT, Kaepernick delivers his story with the same unflinching conviction that defined the moment the world watched. Equal parts memoir and manifesto, it traces the off-the-field battles that turned a single act of protest into a movement that changed American sports and culture forever. This is the story of a man who became someone the moment demanded. It is a story about identity, sacrifice, and the cost of courage. And it is, ultimately, a story about all of us and the future we are still fighting to build.

Winner of the John Boswell Prize from the American Historical Association 2018
Winner of the William Sanders Scarborough Prize from the Modern Language Association 2018
Winner of an American Library Association Stonewall Honor 2018
Winner of Lambda Literary Award for Transgender Nonfiction 2018
Winner of the Sylvia Rivera Award in Transgender Studies from the Center for Lesbian and Gay Studies

The story of Christine Jorgensen, America’s first prominent transsexual, famously narrated trans embodiment in the postwar era. Her celebrity, however, has obscured other mid-century trans narratives—ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence.

Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible.

Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within,” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don’t Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

An essential history of modern Black cinema, as led by avant-garde filmmaker, director, novelist, composer, and playwright Melvin Van Peebles.

Beg Borrow Steal, a title inspired by Black artists’ make-a-way-out-of-no-way ethos, is a stirring and remarkable deep dive into Black independent film and culture, as modeled by raconteur and iconoclast Melvin Van Peebles. Award-winning writer Santi Elijah Holley enriches the extraordinary history with interviews from today’s most innovative Black independent filmmakers and actors, such as Julie Dash, Charles Burnett, and Samuel L. Jackson, as well as Van Peebles’s published and unpublished manuscripts, critical reviews, analyses, and reflections.

Independent Black artists across all disciplines—from music and theater to literature and poetry—continue to push boundaries, challenge stereotypes, and pursue their own vision, away from traditional gatekeepers. The success of artists like Spike Lee, Barry Jenkins, Ava DuVernay, Jordan Peele, and Ryan Coogler can be traced directly to the pioneering work of Van Peebles, whose ambitious and innovative multidisciplinary artistry never yielded to anybody else’s vision but his own.

As a Black American who’d overcome poverty, discrimination, and other obstacles, Van Peebles refused to let White America take advantage of him and his talent. It’s made him a beacon for every Black auteur and independent filmmaker of the past 50 years. Sinners, Black Panther, Sorry to Bother You, Get Out, She's Gotta Have It, Do the Right Thing, Boyz n the Hood, Shaft, Superfly, Daughters of the Dust, Selma, the list goes on. It is impossible to imagine any of these culturally defining films existing, if not for the groundwork laid by Melvin Van Peebles’s 1971 Sweet Sweetback’s Baadasssss Song. It is canon in Black film.

Beg Borrow Steal is the story of the legendary man who provided the blueprint for independent Black cinema, and a tribute to the power of radical Black creativity in American art and culture.

From award-winning, New York Times bestselling author Ibi Zoboi and artist Juanita Londoño, this lyrical celebration of the first day of school across every continent explores what going back to school looks like for children in countries around the world!

How do children around the world spend their first day of school?

Some eat warm akara for breakfast in Nigeria, while others unwrap lunches of kluski in Poland. In China, they practice intricate characters in special notebooks, and in Argentina, they learn each other's names in a singsong memory game. No matter where in the world, every student has something new to look forward to on their first day!

From Ethiopia to Germany to India to Brazil, this lyrical text introduces young readers to the breakfast-to-bedtime routines, cultures, and landscapes that connect people across all continents.

Dear Black Boy
You will teach the world
How to shine brightly
Just by being yourself

Celebrate the imagination, hard work, laughter, and dreams of Black boys with this expressive, empowering text from poet and author Mahogany L. Browne. With vibrant illustrations from artist Sawyer Cloud, this picture book is perfect for honoring big milestones and finding joy in everyday moments―a heartwarming and jubilant love letter to Black boys everywhere.

Timely, relevant, and illuminating, this essential book by respected cultural historian, teacher, and author John G. Jackson sheds long overdue light on standard Eurocentric and distorting approaches to the history of Africa from early African civilizations to Africa’s significance in world history.
 
With brilliantly objective scholarship, respected historian and author John G. Jackson reexamines the outdated, racist, and Westernized history of Africa that is still taught in schools, and presents one infinitely more rich, colorful, varied—and truthful. Challenging the standard dehumanizing and exploitive approaches to African history, from the dawn of prehistory to the resurgent Africa of today--including the portrayal of Africans as “savages” who ultimately benefitted from European enslavement with its “blessings of Christian civilization”—Jackson confronts the parochial historian, devastates the theoretical pretensions of white supremacists, and expands intellectual horizons.
 
Accessible and informed, fascinating and candid, Introduction to African Civilizations is an important historical guide that will enhance antiracist teachings for the general reader and the scholar alike.
 
Introduction by John Henrik Clarke, pioneer of African Studies and author of Christopher Columbus and the African Holocaust
 
Foreword by Runoko Rashidi, historian, activist, and author of Introduction to the Study of African Classical Civilizations