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.

Celebrate the release of Gather Me: A Memoir In Praise of the Books That Saved Me with Glory Edim!

EVENT DEETS

When: Sunday, November 3 @ 4PM

Where: Kindred Stories (2304 Stuart Street, HTX, 77004)

How: Get your ticket here (all tickets include a copy of Gather Me)! 

ABOUT THE BOOK

An inspiring memoir of family, community, and resilience, and an ode to the power of books to help us understand ourselves, from the renowned founder of Well-Read Black Girl

“She is a friend of my mind. She gather me, man. The pieces I am, she gather them and give them back to me in all the right order.”—Toni Morrison

For Glory Edim, that "friend of my mind" is books. Edim, who grew up in Virginia to Nigerian immigrant parents, started the popular Well-Read Black Girl book club at age thirty eventually reaching a community of half a million other readers. But her love of books stretches far back.

When Edim's father moved back to Nigeria while she was still a child, she and her brothers were left with a single mother and little money, often finding a safe space at their local library. Books were where Edim found community, and as she grew older, she discovered authors and ideas she wasn't being taught in class. In dorm rooms and airplanes and on subway rides, she found the Black writers whose words would forever change her life: Nikki Giovanni through children's poetry cassettes; Maya Angelou through a critical high school English teacher; Toni Morrison while attending Morrison's alma mater, Howard University; Audre Lorde on a flight to Nigeria. In prose full of both joy and heartbreak, Edim recounts how these writers and so many others helped her to value herself: to find her own voice when her mother lost hers, to trust her feelings when her father remarried, to create bonds with other Black women and uplift their stories.

Gather Me is a glowing testament to the power of representation and the lasting impact of literature to gather our disparate parts and put them back together.

ABOUT THE AUTHOR

Glory Edim is a literary tastemaker, entrepreneur, and advocate for diverse voices in literature. In 2015, she founded Well-Read Black Girl (WRBG), an online platform and book club dedicated to celebrating the works of Black women authors and creating a supportive online community for readers. Under Glory's leadership, WRBG has grown into a non-profit organization, hosting events, book festivals, and author conversations that highlight the richness and diversity of Black literature. Her efforts have earned her accolades such as the 2017 Innovator’s Award from the Los Angeles Times and the Madam C.J. Walker Award from the Hurston/Wright Foundation. As an author herself, Glory has contributed to the literary landscape with her best-selling anthologies Well-Read Black Girl: Finding Our Stories, Discovering Ourselves, and On Girlhood: 15 Stories from the Well-Read Black Girl Library.

ABOUT THE CONVERSATION PARTNER

Wale is a licensed mental health therapist and a passionate reader who uses her platform (@theehottgirlbooks) to dive deep into powerfully emotional stories written by BIPOC authors. Her love for reading and mental health fosters a passionate approach to her work both online and in the therapy room.  When she is not immersed in the literary world, you can find her watching the real housewives or building an elaborate Lego set.

When a struggling salon owner is chosen by the African goddess Oshun, she’s thrust into an ancient power struggle—and a fated romance that could change everything.

From award-winning author, oracle creator, and spiritual teacher Abiola Abrams, Honey Goddess is an unforgettable journey into feminine power, ancestral magic, and cosmic love.

Lola Callender is a brilliant stylist, secret romantic, and woman on the verge of losing everything she’s worked for. Her luxury salon is struggling, her spa expansion has stalled, and her almost-fiancé just offered a proposal with no ring—and no clue who she really is. When a coveted industry award goes to Baz D’Ablemont, a maddeningly charming newcomer who seems to glide through life, Lola is ready to walk away from it all. Then comes the Venus Equinox...

A spontaneous oracle ritual with her three closest friends awakens something ancient and powerful. Each woman channels a different goddess—truth, fertility, passion, and love—and the world around them begins to shift. Mirrors glitch. Bees follow. Dreams return. For Lola, stepping into the energy of Oshun changes everything—from her confidence to her connection with Baz, who turns out to be far more than a rival—he is the channeling the god Shango, Oshun's partner. Beneath the magic lies a forgotten history and a threat determined to silence it. But Lola and her goddess circle aren’t backing down.

Fearless essays that reclaim the work and words of Black women activists, abolitionists, and movement makers who have long fought for liberation and justice—from a beloved Teen Vogue columnist and an essential new voice in Black feminism.

Jenn M. Jackson has been known to bring deep historical acuity to some of the most controversial topics in America today. Now, in their first book, Jackson applies their critical analysis to the questions that have long energized their work: Why has Black women's freedom fighting been so overlooked throughout history, and what has our society lost in the meantime? A love letter to those who have been minimized and forgotten, this collection repositions Black women’s intellectual and political work at the center of today’s liberation movements.

Across thirteen original essays that explore the legacy and work of Black women writers and leaders—from Harriet Jacobs and Ida B. Wells to the Combahee River Collective and Audre Lorde—Jackson sets the record straight about Black women’s longtime movement organizing, theorizing, and coalition building in the name of racial, gender, and sexual justice in the United States and abroad. These essays show, in both critical and deeply personal terms, how Black women have been at the center of modern liberation movements, despite the erasure and misrecognition of their efforts. Jackson illustrates how Black women have frequently done the work of liberation at great risk to their lives and livelihoods.

For a new generation of movement organizers and potential co-strugglers, Black Women Taught Us serves as a reminder that Black women were the first ones to teach us how to fight racism, how to name that fight, and how to imagine a more just world for all of us. A reclamation of an essential history, and a hopeful gesture towards a better political future, this is what listening to Black women looks like.

The story of Marie Laveau, the character featured on American Horror Story: Coven.

New Orleans in the mid-nineteenth century: a potent mix of whites, Creoles, free blacks, and African slaves, a city pulsing with crowds, commerce, and an undercurrent of secret power. The source of this power is the voodoo religion, and its queen is Marie Laveau, the notorious voodooienne, worshipped and feared by blacks and whites alike.

A ticking bomb of teenage savagery that blows the hypocrisies and prejudice of society to smithereens.

Bullied at school with near-hellish doggedness by cold-hearted classmates and fattened at home with increasingly extravagant feasts by an overindulgent father, the voracious narrator of All Flesh trudges through her teen years certain that her heft is because she has absorbed her twin sister in utero and is now eating, and living, for two.

As those around her look down on her corpulence, she struggles to see who she might be beyond such narrow-mindedness. When a near-fatal incident unexpectedly brings a man and a heady experience of the body’s other pleasures into her life, she gets a decadent taste of a future she had never dared to imagine. But she is beset once more by sharp tongues and beady eyes until, finally, she devises a drastic way to turn the tables on her tormentors and the whole unjust world. But will her coup de grâce prove self-possessed, or self-destructive?

In All Flesh, Ananda Devi’s keenly lyrical prose presents a darkly humorous mirror that bitingly reflects and shatters the double standards around how we talk about bodies, women, beauty, and food, and how society consumes, obsesses over, and vilifies humanity’s excesses.

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.

From the author of the National Book Award finalist Ghostroots, a debut novel that thrills with its eerie mix of folklore and history.

The lonely daughter of a distant mother, Yosoye arrives in Lagos ready to change her life. Weeks after she begins an internship at a fancy architectural firm, she discovers she is pregnant. Yosoye is joyful―a new life brings the hope of connection and companionship.

But an inexplicable force is haunting the pregnant women of Lagos. As construction speeds ahead on the firm’s glossy new development on land reclaimed from the ocean, stories of the uncanny deaths in the city’s open waters reach a fever pitch. Yosoye finds herself stalked by a presence she can neither ignore nor appease―without risking her unborn baby and her precarious hopes for the future.

In One Leg on Earth, ‘Pemi Aguda turns the question of who belongs in a city into an arresting exploration of what it means to be a mother in an unforgiving world, and a haunting vision of the dark side of progress.

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.”

Louise Lloyd’s time away in Paris is everything she was hoping it would be until a shocking murder turns her entire world upside down.

Louise Lloyd is finally living the quiet life she’d longed for, working in a parfumerie by day and spending time with her new friends every night at the Aquarius club in Paris. When a desperate mother asks for help locating her artist daughter, Louise initially refuses to keep her hard-won but fragile peace intact. But the woman comes with a letter of introduction from an old friend in Harlem, and Louise realizes she has no choice but to do what she can to find the missing young woman.

The woman’s daughter, Iris Wright, is part of an elite social circle. Louise soon finds herself drawn into a world of privilege and ice-cold ambition—a young group of artists who will do anything to get ahead—but would they murder one of their own? With the help of some friends from home, Louise must untangle a web of lies, jealousy, and betrayal to find out what really happened to Iris while fighting to keep her new life from crashing down around her.