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.

“ 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 Carla Kaplan, a noted Hurston scholar, has found hundreds of revealing, previously unpublished letters for this definitive collection; she also provides extensive and illuminating commentary on Hurston’s life and work, as well as an annotated glossary of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.

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.

A debut collection of lyric poems interrogating the generational implications of the Great Migration to Northern California. 

Ankle-Deep in Pacific Water, a debut collection by E. Hughes, marries personal narrative with historical excavation to articulate the intricacies of Black familial love, life, and pain. Tracing the experiences of a southern Black family, their migration to the San Francisco Bay area, and the persistent anti-Blackness there (despite the state’s insistence that it is/was not involved in the US’ projects of imperialism or chattel slavery), Hughes illuminates the intersections of history, grief, and violence.

At the book’s heart is “The Accounts of Mammy Pleasant,” a persona poem written from the perspective of the formerly enslaved abolitionist and financier Mary Ellen Pleasant who is thought to have helped fund John Brown’s raid on Harpers Ferry. Alongside this historical account, Hughes deftly weaves in the story of a contemporary Black family navigating the generational trauma resulting from the Great Migration: domestic violence and racialized violence, familial love and loyalty, the work of parenting, and the work of being a child. Ankle-Deep in Pacific Water reveals in its pages that, while many things have changed over time, ultimately the question of what “freedom” meant and looked like for Black people in the early 20th century retains the same murkiness and contradictions for Black people today.

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.

Langston Collin Wilkins returns to the city where he grew up to illuminate the complex relationship between place, identity, and music in Houston’s hip hop culture. Interviews with local rap artists, producers, and managers inform an exploration of how artists, audiences, music, and place interact to create a heritage that musicians negotiate in a variety of ways. Street-based musicians, avant-garde underground rappers, and Christian artists offer candid views of the scene while Wilkins delves into related aspects like slab, the area’s hip hop-related car culture. What emerges is a portrait of a dynamic reciprocal process where an artist, having identified with and embodied a social space, reproduces that space in a performance even as the performance reconstructs the social space.

A vivid journey through a southern hip hop bastion, Welcome 2 Houston offers readers an inside look at a unique musical culture.

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.

"A must for all who would more knowledgeably appreciate and better comprehend America's most popular music." — Langston Hughes

"The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music—through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."

So says Amiri Baraka (previously known as LeRoi Jones) in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America—not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.

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.

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.