Winner of the 2003 Lambda Literary Award for Fiction Anthology

Showcasing the work of literary giants like Langston Hughes, James Baldwin, Audre Lorde, Alice Walker, and writers whom readers may be surprised to learn were "in the life," Black Like Us is the most comprehensive collection of fiction by African American lesbian, gay, and bisexual writers ever published. From the Harlem Renaissance to the Great Migration of the Depression era, from the postwar civil rights, feminist, and gay liberation movements, to the unabashedly complex sexual explorations of the present day, Black Like Us accomplishes a sweeping survey of 20th century literature.

“ I mean to live and die by my own mind,” Zora Neale Hurston told the writer Countee Cullen. Arriving in Harlem in 1925 with little more than a dollar to her name, Hurston rose to become one of the central figures of the Harlem Renaissance, only to die in obscurity. Not until the 1970s was she rediscovered by Alice Walker and other admirers. Although Hurston has entered the pantheon as one of the most influential American writers of the 20th century, the true nature of her personality has proven elusive.

Now, a brilliant, complicated and utterly arresting woman emerges from this landmark book. Carla Kaplan, a noted Hurston scholar, has found hundreds of revealing, previously unpublished letters for this definitive collection; she also provides extensive and illuminating commentary on Hurston’s life and work, as well as an annotated glossary of the organizations and personalities that were important to it.

From her enrollment at Baltimore’s Morgan Academy in 1917, to correspondence with Marjorie Kinnan Rawlings, Langston Hughes, Dorothy West and Alain Locke, to a final query letter to her publishers in 1959, Hurston’s spirited correspondence offers an invaluable portrait of a remarkable, irrepressible talent.

A vibrant, deeply researched biography of A’Lelia Walker—daughter of Madam C.J. Walker and herself a central figure of the Harlem Renaissance—written by her great-granddaughter.

Dubbed the “joy goddess of Harlem’s 1920s” by poet Langston Hughes, A’Lelia Walker, daughter of millionaire entrepreneur Madam C.J. Walker and the author’s great-grandmother and namesake, is a fascinating figure whose legendary parties and Dark Tower salon helped define the Harlem Renaissance.

After inheriting her mother’s hair care enterprise, A’Lelia would become America’s first high profile black heiress and a prominent patron of the arts. Joy Goddess takes readers inside her three New York homes—a mansion, a townhouse, and a pied-a-terre—where she entertained Langston Hughes, Zora Neale Hurston, Paul Robeson, Florence Mills, James Weldon Johnson, Carl Van Vechten, W.E.B. DuBois, and other cultural, social and intellectual luminaries of the Roaring Twenties.

Now, based on extensive research and Walker’s personal correspondence, her great-granddaughter creates a meticulous, nuanced portrait of a charismatic woman struggling to define herself as a wife, mother, and businesswoman outside her famous mother’s sphere. In Joy Goddess, A’Lelia’s radiant personality and impresario instincts—at the center of a vast, artistic social world where she flourished as a fashion trendsetter and international traveler—are brought to vivid and unforgettable life.

The beloved novel about a New York City girlhood that heralded a renaissance in Black women’s literature, with a new foreword by Nicole Dennis-Benn, the bestselling author of Patsy and Here Comes the Sun

One of The New York Times Magazine’s 25 Most Significant New York City Novels from the Last 100 Years

A Penguin Classic

Selina Boyce comes of age in 1940s New York as the daughter of two immigrants from Barbados: a free-spirited father she adores and who dreams of returning to his Caribbean island home, and a disciplined, hardworking mother she admires and who is determined to purchase their Brooklyn brownstone. When her father comes into an unexpected inheritance, Selina is torn between his nostalgia for the past and her mother’s ambition for the future, all while negotiating racism, sexuality, Depression-era poverty, and the competing values of African Americans and her West Indian immigrant community.

First published in 1959, Brown Girl, Brownstones opened a window into the rich inner life of Black women and today ranks with A Tree Grows in Brooklyn as one of the great New York City novels. With her autobiographical debut, Paule Marshall paved the way for Toni Morrison, Alice Walker, Audre Lorde, June Jordan, and Maya Angelou—and took her place in the American literary canon.

Penguin Classics is the leading publisher of classic literature in the English-speaking world, representing a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

“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.

NATIONAL BESTSELLER • Provocative and illuminating essays from women at the forefront of the climate movement who are harnessing truth, courage, and solutions to lead humanity forward.

“A powerful read that fills one with, dare I say . . . hope?”—The New York Times
 
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY SMITHSONIAN MAGAZINE

There is a renaissance blooming in the climate movement: leadership that is more characteristically feminine and more faithfully feminist, rooted in compassion, connection, creativity, and collaboration. While it’s clear that women and girls are vital voices and agents of change for this planet, they are too often missing from the proverbial table. More than a problem of bias, it’s a dynamic that sets us up for failure. To change everything, we need everyone.
 
All We Can Save illuminates the expertise and insights of dozens of diverse women leading on climate in the United States—scientists, journalists, farmers, lawyers, teachers, activists, innovators, wonks, and designers, across generations, geographies, and race—and aims to advance a more representative, nuanced, and solution-oriented public conversation on the climate crisis. These women offer a spectrum of ideas and insights for how we can rapidly, radically reshape society.
 
Intermixing essays with poetry and art, this book is both a balm and a guide for knowing and holding what has been done to the world, while bolstering our resolve never to give up on one another or our collective future. We must summon truth, courage, and solutions to turn away from the brink and toward life-giving possibility. Curated by two climate leaders, this collection is a celebration of visionaries who are leading us on a path toward all we can save.

With essays and poems by:

Emily Atkin • Xiye Bastida • Ellen Bass • Colette Pichon Battle • Jainey K. Bavishi • Janine Benyus • adrienne maree brown • Régine Clément • Abigail Dillen • Camille T. Dungy • Rhiana Gunn-Wright • Joy Harjo • Katharine Hayhoe • Mary Annaïse Heglar • Jane Hirshfield • Mary Anne Hitt • Ailish Hopper • Tara Houska, Zhaabowekwe • Emily N. Johnston • Joan Naviyuk Kane • Naomi Klein • Kate Knuth • Ada Limón • Louise Maher-Johnson • Kate Marvel • Gina McCarthy • Anne Haven McDonnell • Sarah Miller • Sherri Mitchell, Weh’na Ha’mu Kwasset • Susanne C. Moser • Lynna Odel • Sharon Olds • Mary Oliver • Kate Orff • Jacqui Patterson • Leah Penniman • Catherine Pierce • Marge Piercy • Kendra Pierre-Louis • Varshini • Prakash • Janisse Ray • Christine E. Nieves Rodriguez • Favianna Rodriguez • Cameron Russell • Ash Sanders • Judith D. Schwartz • Patricia Smith • Emily Stengel • Sarah Stillman • Leah Cardamore Stokes • Amanda Sturgeon • Maggie Thomas • Heather McTeer Toney • Alexandria Villaseñor • Alice Walker • Amy Westervelt • Jane Zelikova

Home Girls, the pioneering anthology of Black feminist thought, features writing by Black feminist and lesbian activists on topics both provocative and profound. Since its initial publication in 1983, it has become an essential text on Black women's lives and contains work by many of feminism's foremost thinkers. This edition features an updated list of contributor biographies and an all-new preface that provides Barbara Smith the opportunity to look back on forty years of the struggle, as well as the influence the work in this book has had on generations of feminists. The preface from the previous Rutgers edition remains, as well as all of the original pieces, set in a fresh new package. 

Contributors: Tania Abdulahad, Donna Allegra, Barbara A. Banks, Becky Birtha, Cenen, Cheryl Clarke, Michelle Cliff, Michelle T. Clinton, Willi (Willie) M. Coleman, Toi Derricotte, Alexis De Veaux, Jewelle L. Gomez, Akasha (Gloria) Hull, Patricia Spears Jones, June Jordan, Audre Lorde, Raymina Y. Mays, Deidre McCalla, Chirlane McCray, Pat Parker, Linda C. Powell, Bernice Johnson Reagon, Spring Redd, Gwendolyn Rogers, Kate Rushin, Ann Allen Shockley, Barbara Smith, Beverly Smith, Shirley O. Steele, Luisah Teish, Jameelah Waheed, Alice Walker, and Renita J. Weems.

The success of John Henrik Clarke's American Negro Short Stories, first published in 1966, affirmed the vitality and importance of black fiction. Now this expanded edition of that best-selling book, with a new title, offers the reader thirty-one stories included in the original―from Charles W. Chesnutt and Paul Laurence Dunbar in the late nineteenth century to the rich and productive work of the Harlem Renaissance: writers like Zora Neale Hurston, Langston Hughes, and Richard Wright; the World War II accomplishments of Chester Himes, Frank Yerby, and many others; and the later fiction of James Baldwin, Paule Marshall, and LeRoi Jones (Imamu Amiri Baraka). Seven additional contributions round out a century of great stories with the work of Maya Angelou, Toni Cade Bambara, Eugenia Collier, Jennifer Jordan, James Allan McPherson, Rosemarie Robotham, and Alice Walker. Dr. Clarke has included a new introduction to this 1993 edition, and a short biography of each contributor.

A soulful collection of illuminating essays and interviews that explore Black people’s spiritual connection to the land and the climate justice crisis, curated by the acclaimed author of Farming While Black.

Author of Farming While Black and co-founder of Soul Fire Farm, Leah Penniman reminds us that ecological humility is an intrinsic part of Black cultural heritage. While racial capitalism has attempted to sever our connection to the sacred earth for 400 years, Black people have long seen the land and water as family and treating the Earth as a home essential.

This thought-provoking anthology brings together today’s most respected and influential Black environmentalist voices. These varied and distinguished experts include Pulitzer Prize and National Book Award-winning author Alice Walker; the first Queen Mother and official spokesperson for the Gullah/Geechee Nation, Queen Quet; marine biologist, policy expert, and founder and president of Ocean Collectiv, Dr. Ayana Elizabeth Johnson; and the Executive Director of the North Carolina Association of Black Lawyers, Land Loss Prevention Project, Savi Horne. These leaders address the essential connection between nature and our survival and how runaway consumption and corporate insatiability are harming the earth and every facet of American society, including racial violence, food apartheid, and climate justice.

Those whose skin is the color of soil are reviving their ancestral and ancient practice of listening to the earth for guidance. Penniman makes clear that the fight for racial and environmental justice demands that Black people put our planet first and defer to nature as our teacher.

A Civil Rights Journey presents the astonishing archive of Dr Doris Derby: photographer, activist, and professor of anthropology. Active throughout the Civil Rights Movements of the mid twentieth century in the southern United States, particularly Mississippi, Derby acted as a photographer, organiser and teacher, making photographs of the intimate and human side of the everyday struggle for survival and human rights. She photographed both the organisation of political events, meetings, and funerals, alongside the literacy, co-operative and community theatre programmes, many of which she founded, and encountered much danger and tragedy along the way. Here we see the speeches and protests that gave the movement its defining moments, as well as vital figures including Muhammad Ali, Alice Walker, Fannie Lou Hamer, and Jesse Jackson. We also see classrooms and church halls, doctors and secretaries: everyday scenes of joy, frustration, curiosity, and connection, in which the determination and collective actions and resolve and actions of the movement are equally expressed. This extensive volume presents Derby's images in sequences that between them document rural and urban poverty, offer lucid ethnographies of particular streets and families, track the day-to-day lives of African American children growing up in the Mississippi Delta, and bear witness to such pivotal events as the Jackson State University shooting, the funeral of Martin Luther King Jr., and the 1968 Democratic Convention. Derby's photographs offer us an invaluably rich portrait of a historical moment whose effects have defined today's world and issues a vital reassertion of the work that remains to be done. Artist photographer Hannah Collins has worked with Doris Derby to recount the events photographed in extensive texts which accompany the images.

Christina N. Baker’s Contemporary Black Women Filmmakers and the Art of Resistance is the first book-length analysis of representations of Black femaleness in the feature films of Black women filmmakers. These filmmakers resist dominant ideologies about Black womanhood, deliberately and creatively reconstructing meanings of Blackness that draw from their personal experiences and create new symbolic meaning of Black femaleness within mainstream culture. Addressing social issues such as the exploitation of Black women in the entertainment industry, the impact of mass incarceration on Black women, political activism, and violence, these films also engage with personal issues as complex as love, motherhood, and sexual identity. Baker argues that their counter-hegemonic representations have the potential to transform the narratives surrounding Black femaleness. At the intersection of Black feminism and womanism, Baker develops a “womanist artistic standpoint” theory, drawing from the work of Alice Walker, Patricia Hill Collins, bell hooks, Audre Lorde, and Kimberlé Crenshaw.
Analyzing the cultural texts of filmmakers such as Ava DuVernay, Tanya Hamilton, Kasi Lemmons, Gina Prince-Bythewood, and Dee Rees—and including interviews she conducted with three of the filmmakers—Baker emphasizes the importance of applying an intersectional perspective that centers on the shared experiences of Black women and the role of film as a form of artistic expression and a tool of social resistance.