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.

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.

A collection of private correspondence from one of the Harlem Renaissance’s brightest and most radical voices
 
The Jamaican-born, queer author Claude McKay (1890–1948) was a central figure of the Harlem Renaissance. His 1919 poem “If We Must Die” expressed a revolutionary vision for militant Black protest art, while his novels, including Home to Harlem, Banjo, and Banana Bottom, described ordinary Black life in lyrical prose. Yet for all that McKay connected himself to Harlem, he was a restless world traveler who sought spiritual, artistic, and political sustenance in France, Spain, Moscow, and Morocco.
 
Brooks E. Hefner and Gary Edward Holcomb bring together two decades of McKay’s never-before-published dispatches from the road with correspondents including W. E. B. Du Bois, Langston Hughes, Alain Locke, Max Eastman, and Louise Bryant. With wit, wisdom, insight, and sometimes irascible temper, McKay describes how he endured harassment from British authorities in London and worked alongside Leon Trotsky and Alexander Kerensky in Bolshevik Moscow. He reflects on Paris’s Lost Generation, immerses himself in the Marseille dockers’ noir subculture, and observes French colonialism in Morocco. Providing a new perspective on a unique figure of American modernism, this collection reveals McKay gossiping, cajoling, and confiding as he engages in spirited debates and challenges the political and artistic questions of the day.

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With a poet's precision and an intellectually adventurous spirit, Elizabeth Alexander explores a wide spectrum of contemporary African American artistic life through literature, paintings, popular media, and films, and discusses its place in current culture. In The Black Interior, she examines the vital roles of such heavyweight literary figures as Gwendolyn Brooks, Langston Hughes, and Rita Dove, as well as lesser known, yet vibrant, new creative voices. She offers a reconsideration of "afro-outré" painter Jean-Michel Basquiat, the concept of "race-pride" in Jet magazine, and her take on Denzel Washington's career as a complex black male icon in a post-affirmative action era. Also available is Alexander's much heralded essay on Rodney King, Emmett Till, and the collective memory of racial violence.

Alexander, who has been a professor at the University of Chicago and Smith College, and recently at Yale University, has taught and lectured on African American art and culture across the country and abroad for nearly two decades. In The Black Interior, she directs her scrupulous poet's eye to the urgent cultural issues of the day. This lively collection is a crucial volume for understanding current thinking on race, art, and culture in America.

A book of loss, looking back, and what binds us to life, by a towering poetic talent, called “one of the poetry stars of his generation” (Los Angeles Times).

“We sleep long, / if not sound,” Kevin Young writes early on in this exquisite gathering of poems, “Till the end/ we sing / into the wind.” In scenes and settings that circle family and the generations in the American South—one poem, “Kith,” exploring that strange bedfellow of “kin”—the speaker and his young son wander among the stones of their ancestors. “Like heat he seeks them, / my son, thirsting / to learn those / he don’t know / are his dead.”
 
Whether it’s the fireflies of a Louisiana summer caught in a mason jar (doomed by their collection), or his grandmother, Mama Annie, who latches the screen door when someone steps out for just a moment, all that makes up our flickering precarious joy, all that we want to protect, is lifted into the light in this moving book. Stones becomes an ode to Young’s home places and his dear departed, and to what of them—of us—poetry can save.

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 Cornelius Eady, one of America's most engaging voices, comes an exciting collection of poetry that at once delineates the arc of the poet's universe and highlights the range of his considerable talents.

Cornelius Eady’s poems show him in full control of his considerable talents and displaying a rich maturity as he enters midlife. His poems are sly, unsentimental, and witty, full of truths that are intimate and profound.

Hardheaded Weather ranges widely, reflecting the new found responsibilities Eady has assumed as he transitions from urban renter to nonplussed rural homeowner, as well as the sobering influence of war and the intimation of his own mortality. Yet even at his angriest, the poet has always had a depth of compassion rare in our polarized age, with a sense of humor that is both sophisticated and demotic. These poems will resonate deeply.

As exciting as the new poems are, his selected earlier poems dazzle, too, as they demonstrate the arc of Cornelius Eady’s maturation and the originality of his voice. Taken together, Hardheaded Weather forms a moving—and sometimes searing—testament to the power of poetry.

Celebrate E. Hughes' debut poetry collection, Ankle - Deep in Pacific Water! 

EVENT DEETS

When: Thursday, December 5 @ 7PM 

Where: Kindred Stories (2304 Stuart Street, Houston, Texas, 77004) 

How: RSVP ONLY to reserve your seat or RSVP WITH BOOK to support the author and our programming. 

ABOUT THE BOOK

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. 

ABOUT THE AUTHOR 

E. Hughes’ poems have been published or are forthcoming in The Rumpus, Guernica, Poet Lore, Indiana Review, and Gulf Coast Magazine—among others. They are a Cave Canem fellow and have been a finalist for the 2021 Elinor Benedict Poetry Prize, longlisted for the 2021 Granum Fellowship Prize, and a semifinalist of the 2022 and 2023 92Y Discovery Contest. In 2021, they received their MFA+MA from the Litowitz Creative Writing Program at Northwestern University. Currently, Hughes is a PhD student in Philosophy at Emory University studying black aesthetics, psychoanalysis, and poststructuralism

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.

Three years ago, I decided to have my first one-night stand. The plan was simple: research how to do it and meet a man at the bar before nerves playing with my guts got the best of me. I wanted to ring in the new year between a stranger's legs. Someone with good hygiene and exceptional tensile strength to take the edge off of studying mechanical engineering.

Then he walked in.

I'd heard whispers about "a night with Knight," tales of toe cramps and matted hair. Antonio is the biggest player and not the man to relieve me of my pent-up tension. His thick thighs, veiny forearms, and charming smile promised a trip to the hospital.

I shouldn't have followed him back to his condo, but I did.

Dinner turned into a kiss, and that kiss led to accidental humping. That's how we ended up in the emergency room. He had a broken nose, and my wig was stuck on his watch.

Three years and a PhD later, Antonio has cemented himself in my life as my best friend. Moving to the city where my sister lives-and where he plays professional rugby-wasn't a big deal at first. But everything changed when we hugged. His cologne surrounded me, and his eyes stayed locked on mine.

Our friendship is platonic, ironclad after the one-night stand gone wrong. So why can't I shake the feeling that we've barely scratched the surface?

The Emancipation Proclamation is one of the most important documents in American history. As we commemorate its 150th anniversary, what do we really know about those who experienced slavery?

In their pioneering book, Envisioning Emancipation, renowned photographic historian Deborah Willis and historian of slavery Barbara Krauthamer have amassed 150 photographs—some never before published—from the antebellum days of the 1850s through the New Deal era of the 1930s. The authors vividly display the seismic impact of emancipation on African Americans born before and after the Proclamation, providing a perspective on freedom and slavery and a way to understand the photos as documents of engagement, action, struggle, and aspiration.

Envisioning Emancipation illustrates what freedom looked like for black Americans in the Civil War era. From photos of the enslaved on plantations and African American soldiers and camp workers in the Union Army to Juneteenth celebrations, slave reunions, and portraits of black families and workers in the American South, the images in this book challenge perceptions of slavery. They show not only what the subjects emphasized about themselves but also the ways Americans of all colors and genders opposed slavery and marked its end.

Filled with powerful images of lives too often ignored or erased from historical records, Envisioning Emancipation provides a new perspective on American culture.