A fun, exciting, and informative guide to sexual health, wellness, and pleasure for women of color

In Pleasure, Please! The Black Woman's Guide to Unapologetic Pleasure and Confidence, certified sex educator Ashley Cobb delivers a comprehensive and empowering new exploration of sexual wellness for women of color (and especially Black women). Cobb draws on her extensive experience and expertise in women's health, sexuality, and activism to walk you through everything from individual empowerment to effective ways to confront and overcome the barriers and stigma that Black women face.

You'll discover expert advice interwoven with real stories from real women who have been in your shoes and dealt with the same issues you deal with every day. You'll also find answers to the questions women most frequently ask the author to answer, as well as crystal-clear, informative guidance you can apply in your own life and relationships to help you make your life better now.

Pleasure, Please! also includes:

* Tips and advice on self-love, body positivity, and improving your sense of sexual agency
* Techniques for pleasure and self-exploration to help you enhance your sexual pleasure and explore what you desire – and how to best satisfy those desires
* Specific guidance for navigating the unique sexual health and pleasure challenges that Black women often face

Perfect for all women of color who want to improve their sexual health and get more fulfilment, enjoyment, and pleasure from their bodies, Pleasure, Please! is also an essential read for the partners of those women who want to help and support their partners' sex education and body positivity.

A groundbreaking debut collection portraying the lived experiences of Black Muslims grappling with faith, family, and freedom in America.

In Temple Folk, Black Muslims contemplate the convictions of their race, religion, economics, politics, and sexuality in America. The ten stories in this collection contribute to the bounty of diverse narratives about Black life by intimately portraying the experiences of a community that resists the mainstream culture to which they are expected to accept and aspire to while functioning within the country in which they are born.

In “Due North,” an obedient daughter struggles to understand why she’s haunted by the spirit of her recently deceased father. In “Who’s Down?” a father, after a brief affair with vegetarianism, conspires with his daughter to order him a double cheeseburger. In “Candy for Hanif” a mother’s routine trip to the store for her disabled son takes an unlikely turn when she reflects on a near-death experience. In “Woman in Niqab,” a daughter’s suspicion of her father’s infidelity prompts her to wear her hair in public. In “New Mexico,” a federal agent tasked with spying on a high-ranking member of the Nation of Islam grapples with his responsibilities closer to home.

With an unflinching eye for the contradictions between what these characters profess to believe and what they do, Temple Folk accomplishes the rare feat of presenting moral failures with compassion, nuance and humor to remind us that while perfection is what many of us strive for, it’s the errors that make us human.

From one of our most acclaimed contemporary writers, an urgent and essential collection of poems illuminating the visionary presence of Palestinians.

Fady Joudah’s powerful sixth collection of poems opens with, “I am unfinished business,” articulating the ongoing pathos of the Palestinian people. A rendering of Joudah’s survivance, [...] speaks to Palestine’s daily and historic erasure and insists on presence inside and outside the ancestral land. 

Responding to the unspeakable in real time, Joudah offers multiple ways of seeing the world through a Palestinian lens—a world filled with ordinary desires, no matter how grand or tragic the details may be—and asks their reader to be changed by them. The sequences are meditations on a carousel: the past returns as the future is foretold. But “Repetition won’t guarantee wisdom,” Joudah writes, demanding that we resuscitate language “before [our] wisdom is an echo.” These poems of urgency and care sing powerfully through a combination of intimate clarity and great dilations of scale, sending the reader on heartrending spins through echelons of time. […]is a wonder. Joudah reminds us “Wonder belongs to all.”

A captivating, polyphonic novel of one family’s flight from and return to Iran.

1979. Behsad, a young communist revolutionary, fights with his friends for a new order after the Shah’s expulsion. He tells of sparking hope, of clandestine political actions, and of how he finds the love of his life in the courageous, intelligent Nahid.

1989. Nahid lives her new life in West Germany with Behsad. With their young children, they spend hour after hour in front of the radio, hoping for news from others who went into hiding after the mullahs came to power.

1999. Laleh returns to Iran with her mother, Nahid. Between beauty rituals and family secrets, she gets to know a Tehran that hardly matches her childhood memories.

2009. Laleh’s brother Mo is more concerned with a friend’s heartbreak than with student demonstrations in Germany. But then the Green Revolution breaks out in Iran and turns the world upside down …

A topical, moving novel about revolution, oppression, resistance, and the absolute desire for freedom.

Thirty years after its original publication, this newly imagined edition brings the work and musings of fifteen Black literary luminaries in conversation with a new generation of writers and readers.

The first edition of I Know What the Red Clay Looks Like, published in 1994, remains an essential text for readers of Black feminist literature in all genres. Featuring interviews with and excerpts by writers like Rita Dove, Pearl Cleage, Barbara Neely, June Jordan, and others, this indispensable work speaks to the intersections of politics and art-making along the lines of race, gender, sexuality, and class.

Now, writer and cultural critic Rebecca Carroll presents the original conversations alongside personalized introductions by some of the brightest voices in today’s literary world, including Donika Kelly, Safiya Sinclair, Diamond Sharp, and Chanda Prescod-Weinstein, among others. This new edition also includes an introductory poem by Morgan Parker, a foreword by Salamishah Tillet, and a new author’s note. The new contributors carry the torch of the original interviewees’ lives and words with heart, rigor, gratitude, and radical imagination, illuminating how these conversations are about more than just writing―they are about life, relationships, joy, gratitude, wellness, and self-preservation.

I Know What the Red Clay Looks Like is a book unbound by time, lifting up a chorus of past and present voices. Paying homage to a historic lineage of Black feminist writers and their impact on our current literary landscape, it is a book by and for the storytellers, the poets, the playwrights, the dreamers, and all readers interested in what it means to make art within and from marginalized spaces.

This poetry book is a raw and unfiltered memoir about love and heartbreak-the kind that shapes you and shatters you. It's about first loves and lost loves, about the way girls are taught to shrink themselves for affection and the journey of unlearning that. It delves into grief, the loss of a sibling and the quiet ways absence rewrites you. It is about a childhood marked by hardship, by domestic violence, by wounds that take years to name. And yet, at its core, this book is about survival. It is about finding the strength to keep loving, to keep hoping, and to turn even the deepest sadness into something resembling joy.

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Five female Afghan poets wield language to combat the loneliness, absurdity, and claustrophobia of life in a war-torn country and its diaspora. There are “hypnotic, long beards” tangled with mass extinctions; hateful men burning grapevines; black blindfolds; jinn in chadors; and condoms advertised every eight minutes on TV. Interspersing these are tender moments: one poet describes brushing her daughter’s hair, while another imagines a tree growing at the center of a room, undisturbed by the bombs outside. In the wake of the Taliban’s escalating war on Afghan women’s rights, Hair on Fire is a blazing tribute to a group of exceptional poetesses and a reminder of what we lose when voices are silenced.

The field-defining text for black geographies―now with a new foreword and afterword

The initial publication of Demonic Grounds in 2006 marked a watershed for the field of geography: revealing how human geographies are a result of racialized connections and black placemaking practices, this book opened the discipline to feminist, interdisciplinary, and black perspectives. Katherine McKittrick traces the geographies of black women across the diaspora, arguing that the spaces they inhabit are marked by legacies of violence and slavery while also being sites of unacknowledged political power. Making a forceful claim, she identifies rich opportunities within black geographies for social and cultural change and rebellion. With a new foreword by Simone Browne and comments from Sylvia Wynter on the original edition as an afterword, this twentieth-anniversary edition celebrates Demonic Grounds and its ongoing influence on twenty-first century geography.

Retail e-book files for this title are screen-reader friendly.

Celebrate the release of The Grandest Garden with Gina L. Carroll!

EVENT DEETS

When: Thursday, June 6, 2024

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

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

ABOUT THE BOOK

ABOUT THE AUTHOR

Gina L. Carroll is the author of A Story That Matters: A Gratifying Way to Write About Your Life and editor of Stories Are Medicine: Writing to Heal, An Anthology. A self-pro-fessed story wrangler, Gina founded StoryHouse Texas, a creative space dedicated to cultivating and amplifying the diversity of vision and voice in story. The Grandest Garden is her debut novel. She currently lives in Houston, Texas. To learn more about Gina, visit www.ginacarroll.com.

ABOUT THE CONVERSATION PARTNER

Deborah D.E.E.P Mouton is an award-winning writer, director, performer, critic, and the first Black Poet Laureate of Houston, TX. Praised by the NY Times as an artist who “defies categorization”, her genre-bending works span from stage to page, and everything in between. She is the author of Newsworthy (Bloomsday Literary, 2019) which was translated into German (Berichtenswert, Elif Verlag, 2020), Black Chameleon (Henry Holt, 2023), and an upcoming children's book, Hush Hush Hurricane (Kokila Books). Honored as part of Houston Business Journal’s 40 Under 40 class, she has been a contributing writer for Glamour, Texas Monthly, Muzzle, and ESPN's Andscape, to name a few.

Her most recent choreopoem, PLUMSHUGA: The rise of Lauren Anderson, debuted at Stages Theater and made the cover of the NY Times Culture Section. Her forthcoming opera, She Who Dared, composed by Jasmine Barnes, will  debut in Spring 2025. Her memoir, Black Chameleon (Henry Holt & Co, 2023), recently won the the Carr P. Collins award for Best Nonfiction through the Texas Institute of Letters (2024). Order your copy now.

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In this joyous collection of essays about historically Black colleges and universities, alumni both famous and up-and-coming write testimonials about the schools and experiences that shaped their lives and made them who they are today.

Edited by the host of NPR’s Weekend Edition Sunday, Ayesha Rascoe—with a distinguished and diverse set of contributors including Oprah Winfrey, Stacey Abrams, and Branford Marsalis, HBCU Made illuminates and celebrates the experience of going to a historically Black college or university. This book is for proud alumni, their loved ones, current students, and anyone considering an HBCU.

The first book featuring famous alumni sharing personal accounts of the Black college experience, HBCU Made offers a series of warm, moving, and candid personal essays about the schools that nurtured and educated them. The contributors write about how they chose their HBCU, their first days on campus, the dynamic atmosphere of classes where students were constantly challenged to do their best, the professors who devoted themselves to the students, the marching bands and majorettes and their rigorous training.

For some, the choice to attend an HBCU was an easy one, as they followed in the footsteps of their parents or siblings. For others, it was a carefully considered step away from a predominantly white institution to be educated in a place where they would never have to justify their presence. And for some authors here, it was an HBCU that took them in and cared for them like family, often helping them to overcome a rough patch.

For all, the pride in their choice is abundantly clear. HBCU Made is a perfect gift for each generation of prospective students and brand new alumni to come.