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.

Longtime NBC News reporter Char Adams writes a deeply compelling and rigorously reported history of Black political movements told through the lens of Black-owned bookstores, which have been centers for organizing from abolition to the Civil Rights Movement to Black Lives Matter.

In Black-Owned, Char Adams celebrates the living history of Black bookstores. Packed with stories of activism, espionage, violence, community, and perseverance, Black-Owned starts with the first Black-owned bookstore, which an abolitionist opened in New York in 1834, and after the bookshop’s violent demise, Black book-lovers carried on its cause. In the twentieth century, civil rights and Black Power activists started a Black bookstore boom nationwide. Malcolm X gave speeches in front of the National Memorial African Book Store in Harlem—a place dubbed “Speakers’ Corner”—and later, Black bookstores became targets of FBI agents, police, and racist vigilantes. Still, stores continued to fuel Black political movements.

Amid these struggles, bookshops were also places of celebration: Eartha Kitt and Langston Hughes held autograph parties at their local Black-owned bookstores. Maya Angelou became the face of National Black Bookstore Week. And today a new generation of Black activists is joining the radical bookstore tradition, with rapper Noname opening her Radical Hood Library in Los Angeles and several stores making national headlines when they were overwhelmed with demand in the Black Lives Matter era. As Adams makes clear, in an time of increasing repression, Black bookstores are needed now more than ever.

Full of vibrant characters and written with cinematic flair, Black-Owned is an enlightening story of community, resistance, and joy.

“ 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.

The New Negro (1925) is an anthology by Alain Locke. Expanded from a March issue of Survey Graphic magazine, The New Negro compiles writing from such figures as Countee Cullen, Langston Hughes, Zora Neale Hurston, Jean Toomer, and Locke himself. Recognized as a foundational text of the Harlem Renaissance, the collection is organized around Locke’s writing on the function of art in reorganizing the conception of African American life and culture. Through self-understanding, creation, and independence, Locke’s New Negro came to represent a break from an inhumane past, a means toward meaningful change for a people held down for far too long.

“[F]or generations in the mind of America, the Negro has been more of a formula than a human being—a something to be argued about, condemned or defended, to be ‘kept down,’ or ‘in his place,’ or ‘helped up,’ to be worried with or worried over, harassed or patronized, a social bogey or a social burden.” Identifying the representation of black Americans in the national imaginary as oppressive in nature, Locke suggests a way forward through his theory of the New Negro, who “wishes to be known for what he is, even in his faults and shortcomings, and scorns a craven and precarious survival at the price of seeming to be what he is not.” Throughout The New Negro, leading artists and intellectuals of the Harlem Renaissance offer their unique visions of who and what they are; voicing their concerns, portraying injustice, and illuminating the black experience, they provide a holistic vision of self-expression in all of its colors and forms.

With a beautifully designed cover and professionally typeset manuscript, this edition of Alain Locke’s The New Negro is a classic of African American literature reimagined for modern readers.

From The Queen of Sugar Hill author ReShonda Tate—a new novel inspired by beloved Harlem jazz performer Hazel Scott and the equal parts exhilarating and tumultuous relationship that changed the course of her life.

Harlem, 1943. At just twenty-three, Hazel Scott is a woman on fire. A jazz prodigy, a glamorous film star, and a fierce advocate for civil rights, she’s breaking barriers and refusing to play by the rules. Then Adam Clayton Powell Jr. walks into her life. Harlem’s most electrifying preacher-turned-politician, Adam is as bold and unyielding as Hazel—charismatic, powerful…and married.

This kicks off a decades-long relationship that propels them into the center of a political and cultural revolution. As Hazel’s star rises, Adam takes the national stage in Congress and the couple becomes the toast of the country. But when their affair turns into a marriage, behind the glamorous façade is a battlefield of ego, ambition, and sacrifice. Forced to choose between her music and her family, Hazel must decide what she’s willing to lose—and what she refuses to give up.

Set against the pulsing backdrop of twentieth-century Harlem and featuring icons like Billie Holiday, Langston Hughes, and James Baldwin, With Love from Harlem is a sweeping, emotionally charged romantic drama, rich with historical detail. ReShonda Tate delivers a powerful portrait of love, art, and the price of being unforgettable.

A beautiful, bold collection of more than 100 dazzling poems by Black poets for the whole family to treasure.

Discover classic favorites and new stars. This gorgeously illustrated children's anthology is the perfect introduction to poets such as Lucille Clifton, Langston Hughes, Benjamin Zephaniah, Gwendolyn Brooks, Maya Angelou, Amanda Gorman, Caleb Femi, and Joseph Coelho, and also features brand-new work by poets Nikki Grimes, Carole Boston Weatherford, and others.

Lovingly compiled by award-winning picture book writer and editor Traci N. Todd, this collection touches on a wide range of themes-hope and struggle, joy and pride, home and food, music and family. Each poem is paired with vibrant, inviting illustrations by Jade Orlando.

This beautiful gift book is a remarkable and moving tribute to the rich literary history and bright future of Black writing.

Edited by the magazine’s poetry editor, Kevin Young, a celebratory selection from one hundred years of influential, entertaining, and taste-making verse in The New Yorker

Seamus Heaney, Dorothy Parker, Louise Bogan, Louise Glück, Randall Jarrell, Langston Hughes, Derek Walcott, Sylvia Plath, W. S. Merwin, Czesław Miłosz, Tracy K. Smith, Mark Strand, E. E. Cummings, Sharon Olds, Franz Wright, John Ashbery, Sandra Cisneros, Amanda Gorman, Maggie Smith, Kaveh Akbar: these stellar names make up just a fraction of the wonderfulness that is present in this essential anthology.

The book is organized into sections honoring times of day (“Morning Bell,” “Lunch Break,” “After-Work Drinks,” “Night Shift”), allowing poets from different eras to talk back to one another in the same space, intertwined with chronological groupings from the decades as they march by: the frothy 1920s and 1930s (“despite the depression,” Young notes), the more serious ’40s and ’50s (introducing us to the early greats of our contemporary poetry, like Elizabeth Bishop, W. S. Merwin, and Adrienne Rich), the political ’60s and ’70s, the lyrical ’80s and ’90s, and then the 2000s’ with their explosion of greater diversity in the magazine, greater depth and breadth. Inevitably, we see the high points when poems spoke directly into, about, or against the crises of their times—the war poetry of W. H. Auden and Karl Shapiro; the remarkable outpouring of verse after 9/11 (who can forget Adam Zagajewski’s “Try to Praise the Mutilated World”?); and more recently, stunning poems in response to the cataclysmic events of COVID and the murder of George Floyd.

The magazine’s poetic influence resides not just in this historical and cultural relevance but in sheer human connection, exemplified by the passing verses that became what Young calls “refrigerator poems”: the ones you tear out and affix to the fridge to read again and again over months and years. Our love for that singular Billy Collins or Ada Limón poem—or lines by a new writer you’ve never heard of but will hear much more from in the future—is what has made The New Yorker a great organ for poetry, a mouthpiece for our changing culture and way of life, even a mirror of our collective soul.

Jean Toomer’s Cane is one of the most significant works to come out of the Harlem Renaissance, and is considered to be a masterpiece in American modernist literature because of its distinct structure and style.

First published in 1923 and told through a series of vignettes, Cane uses poetry, prose, and play-like dialogue to create a window into the varied lives of African Americans living in the rural South and urban North during a time when Jim Crow laws pervaded and racism reigned. While critically acclaimed and known today as a pioneering text of the Harlem Renaissance, the book did not gain as much popularity as other works written during the period. Fellow Harlem Renaissance writer Langston Hughes believed Cane’s lack of a wider readership was because it didn’t reinforce the stereotypes often associated with African Americans during the time, but portrayed them in an accurate and entirely human way, breaking the mold and laying the groundwork for how African Americans are depicted in literature.

For the first time in Penguin Classics, this edition of Cane features a new introduction, suggestions for further reading, and notes by scholar George Hutchinson, and National Book Award Foundation 5 Under 35 novelist Zinzi Clemmons contributes a foreword.

From The Unexpected Diva author Tiffany Warren—a dishy and dramatic novel of the Harlem Renaissance and its most famous Black debutante, Yolande Du Bois, daughter of W.E.B. Du Bois, whose spectacular wedding to poet Countee Cullen was the society event of the year...even though the bride and groom were not-so-secretly in love with other people.

A century ago, Harlem’s glittering social scene had a single princess: Yolande Du Bois, the only child of N.A.A.C.P. icon W.E.B. Du Bois. Yolande was bold, vivacious, and beloved of every gossip columnist. A true daddy’s girl, Yolande followed her father’s advice on everything: from where she went to college (Fisk—Papa’s alma mater) to which sorority she joined (Delta Sigma Theta). But in matters of the heart, Yolande and her father did not agree. Dr. Du Bois himself curated a string of handsome suitors from the “Talented Tenth” for her, but Yolande’s true love was jazz musician Jimmie Lunceford, son of a working-class family from far-off Denver, Colorado. Their romance was an open secret, and more than a little scandalous.

Despite it all, Yolande wound up marrying her father’s choice: famed poet Countee Cullen. Their lavish uptown wedding was the hottest social ticket of 1928. With three thousand attendees, sixteen bridesmaids, and Langston Hughes as a groomsman, it was truly a sight to behold.

But, immediately after the wedding, Yolande’s carefully constructed fairy tale begins to crumble. Torn between the expectations of her father and society and her heart’s true desire, Yolande is forced to decide whether she must leave Harlem to create a more authentic life on her own terms.

A Harlem Wedding is a heady read about love, notoriety, Black excellence, deception, and the très chic lifestyles of the Black elite, from speakeasies of Harlem and the green fields of Fisk University, all the way to Le Grand Duc in Paris.

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In her brilliant debut collection of poetry, Diamond Sharp navigates questions of mental health, grief, and joy through her speaker’s sardonic and playful imagination.

Diamond Sharp’s Super Sad Black Girl is a love letter to her hometown of Chicago, where the speaker finds solace and community with her literary idols in hopes of answering the question: What does it look like when Black women are free? 

Lorraine Hansberry and Gwendolyn Brooks appear throughout these poems, counseling the speaker as she navigates her own depression and exploratory questions about the “Other Side,” as do Sandra Bland, Rekia Boyd, and other Black women who have been murdered by police. 

Sharp’s poetry is self-assured, playful, and imaginative, reminiscent of Langston Hughes with its precision and brevity. The book explores purgatorial, in-between spaces that the speaker occupies as she struggles to find a place and time where she can live safely and freely. With her skillful use of repetition, particularly in her series of concrete poems, lines and voices echo across the book so the reader, too, feels suspended within Sharp’s lyric moments. Super Sad Black Girl is a compassionate and ethereal depiction of mental illness from a promising and powerful poet.

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.