An elegant biography of a prescient author whose novels portray Black women’s experiences across the African diaspora
 
Growing up in World War II–era Brooklyn among West Indian immigrants, Paule Marshall (1929–2019) was fiercely driven to become a writer, making art from the world she knew, the life she lived, and the world she imagined. Though her novels and stories are understood by scholars as the beginning of contemporary Black feminist literature―bridging Harlem Renaissance writers like Zora Neale Hurston to such writers as Toni Morrison, Alice Walker, and Maya Angelou―Marshall’s legacy is often overlooked. In this elegant literary biography, distinguished scholar of African American literature Mary Helen Washington draws on exclusive access to the writer’s papers, including her newly discovered unpublished memoir, and scores of interviews with family and friends to give us the first account of Marshall’s life as an artist and of the depth and brilliance of her work.
 
Beginning with her 1959 debut, Brown Girl, Brownstones, a coming-of-age story set among Barbadian immigrants and African Americans in Brooklyn, and moving through her later works set in the Caribbean, Africa, and the United States, Marshall’s novels chart the diasporic life that Marshall herself lived, defined by Black women’s experiences, an unapologetic and sometimes queer sexuality, and the history of the African diaspora. Despite the lush and finely observed inner lives of her heroines, however, Marshall was famous for tightly guarding her own privacy, and it is this enigma―Marshall’s deeply expressive writing versus her guarded public exterior―that Washington draws out. Here is the first look at a prescient, brilliantly talented writer, a complex and fascinating woman, whose fiction single-handedly stages a reverse middle passage that extends from the United States and the Caribbean to Africa.

Literature has the power to help build a shelter in language for a way of being that holds integrity and love as its root. In the tradition of Audre Lorde, Angela Davis, and many other Black writers and theorists, poet and professor Khadijah Queen observes questions of life and literature, human feeling and behavior, and explores language-based solutions to common cultural conflicts that are often rooted in harmful assumptions.

Instead of operating from a base of unquestioned thought and systemic tradition, Radical Poetics presents more inclusive and accurate ways of contemplating literary work. Building on ideas and theoretical practices from Édouard Glissant, Toni Morrison, bell hooks, Saidiya Hartman, and Kimberlé Crenshaw, Queen reads for where love is present as well as for where it is absent—tracing systems of thought and aesthetic choices to track how characters are portrayed in terms of race, gender, class, and disability. She analyzes short stories, novels, nonfiction narratives, poetry, and a play from authors such as Herman Melville, Kate Chopin, Dionne Brand, Frances Ellen Watkins Harper, Ma-ka-tai-me-she-kia-kiak, Sor Juana Inés de la Cruz, Natasha Trethewey, and Muriel Rukeyser. Queen’s essays offer shifts in thinking about language—beyond calling out the ways language punishes vulnerability, entrenches harm, and suppresses true intercultural communication. Her intuitive approach aims to correct inaccuracies that have served as a foundation for the discriminatory thinking that undergirds American institutions and culture, particularly the continued glorification of violence. Radical Poetics makes a case for the imperative and practical value of understanding poetics beyond artistic and academic spaces and into everyday life.

"A lion in literature’s forest"—Maya Angelou
A dazzling selection of poems from one of the most beloved American poets, whose distinctive verse resonates around the globe

Few poets in history have possessed the irrepressible humanity and abundant positivity that characterize Sonia Sanchez’s astonishing body of work.

Energetic, infectious and rich with sonic exuberance, Sanchez’s poems have radically transformed the direction of American poetry over the past six decades and have been an inspiration to readers around the world, including Toni Morrison and Chinua Achebe. Whether it’s her iconic haiku, rhythmic ballads or devastating elegies, Sanchez’s luminous verse thrums with a profound generosity and an international consciousness, rendering all of life’s agony and ecstasy.

This volume draws on Sanchez’s diverse repertoire to showcase the multiplicities of the poet’s voice—the profound and personal, the firebrand and socially conscious, the playful and formally dexterous, and the musical—to celebrate her as one of the world’s most skilled and versatile poets of the past half century.

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, Beloved
 
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 readers. But her own love of books stretches far back.
 
Edim’s father moved back to Nigeria while she was still a child, marking the beginning of a series of traumatic changes and losses for her family. What became an escape, a safe space, and a second home for her and her brother was their local library. Books were where Edim found community, and as she grew older she discovered authors and ideas that she wasn’t being taught about in class. Reading wherever and whenever she could, be it in her dorm room or when traveling by subway or plane, 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 taught her how to value herself by helping her to find her own voice when her mother lost hers, to trust her feelings when her father remarried, and to create bonds with other Black women and uplift their stories.
 
Gather Me is a glowing testament to how the power of representation in literature can gather the disparate parts that make us who we are and assemble them into a portrait of discovery.

A landmark survey of African American literature about Black experiences of the maritime environment.

The ocean is foundational to the story of Africans in America, beginning with the searing Middle Passage. Initially evoking terror, pain, and death, the ocean also became associated with escape, empowerment, freedom, and home, as over time, African Americans in seaport towns found work, built communities, and gained knowledge from travelers. David R. Anderson shows in this groundbreaking collection of memoir, fiction, poetry, and more that African American maritime literature summons many of the traditional themes―survival in the face of overwhelming natural force, sublimity, demonstration of skill and merit, and self-discovery―but often with an eye on legacies of imperialism, slavery, discrimination, and cultural erasure.

Divided thematically across ten sections that address peril, labor, recreation, and more, the book gathers work by influential writers and intellectuals from the eighteenth century to the present, including: Lucille Clifton, Edwidge Danticat, Frederick Douglass, Alice Dunbar-Nelson, W. E. B. DuBois, Camille T. Dungy, Marcus Garvey, Robert Hayden, Zora Neale Hurston, Major Jackson, Harriet Jacobs, John S. Jacobs, Nella Larsen, Claude McKay, Toni Morrison, Walter Mosley, Natasha Trethewey, Phillis Wheatley, Colson Whitehead, and Kevin Young.

A collectible hardcover edition of 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 Vitae Edition

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 Vitae—loosely translated as "Penguin of one's life"—is a deluxe hardcover series from Penguin Classics celebrating a dynamic and diverse landscape of classic fiction and nonfiction from seventy-five years of classics publishing. Penguin Vitae provides readers with beautifully designed classics that have shaped the course of their lives, and welcomes new readers to discover these literary gifts of personal inspiration, intellectual engagement, and creative originality.

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Chinua Achebe is considered the father of modern African literature, the writer who "opened the magic casements of African fiction." The African Trilogy--comprised of Things Fall Apart, Arrow of God, and No Longer at Ease--is his magnum opus. In these masterly novels, Achebe brilliantly imagines the lives of three generations of an African community as their world is upended by the forces of colonialism from the first arrival of the British to the waning days of empire.

The trilogy opens with the groundbreaking Things Fall Apart, the tale of Okonkwo, a hero in his village, whose clashes with missionaries--coupled with his own tragic pride--lead to his fall from grace. Arrow of God takes up the ongoing conflict between continuity and change as Ezeulu, the headstrong chief priest, finds his authority is under threat from rivals and colonial functionaries. But he believes himself to be untouchable and is determined to lead his people, even if it is towards their own destruction. Finally, in No Longer at Ease, Okonkwo's grandson, educated in England, returns to a civil-service job in Lagos, only to see his morality erode as he clings to his membership in the ruling elite. 

Drawing on the traditional Igbo tales of Achebe's youth, The African Trilogy is a literary landmark, a mythic and universal tale of modern Africa. As Toni Morrison wrote, "African literature is incomplete and unthinkable without the works of Chinua Achebe. For passion, intellect and crystalline prose, he is unsurpassed."

It's 1963 in the small town of Monroe, New York. The Arringtons, a Black family, buy a house in a picturesque, all-white neighborhood. Some residents are welcoming, but many react to Dr. Philip Arrington, his wife Velma, and their daughters Livia and Maddie by conspiring against their success in both big and small ways. Amid this mix of hostility and shaky acceptance, the Arringtons must navigate their careers, deal with a volatile marriage, and raise their daughters.

But Where's Home?, Toni Ann Johnson's new collection of linked short stories explores the sometimes painful and often humorous experiences of the Arringtons as an upper-middle-class Black family in a predominantly white, working-class community. This book follows Johnson's previous collection, Light Skin Gone to Waste, which won the 2021 Flannery O'Connor Award. Through multiple perspectives and moments in time, from the 1960s to 2022, readers are invited into the lives of the eldest daughter, who longs for her father's affection while striving for independence; the youngest daughter, who seeks to overcome childhood pain through music and love; a father practicing psychology while engaging in affairs with the white women of the town; and a mother dealing with infidelity while raising her daughters in a place that rejects them.

Deeply emotional, funny, and unflinchingly honest, But Where's Home? lays bare the realities of Black life in America, challenging readers to confront racism, classism, colonized thinking, narcissism, abuse, and troubled parent-child relationships. Johnson's complex and interwoven characters create a kaleidoscope of truths about human nature and race relations in the United States.

Featuring a new original introduction by Opal Palmer Adisa

Avey Johnson--a Black, middle-aged, middle-class widow given to hats, gloves, and pearls--has long since put behind her the Harlem of her childhood. Then on a cruise to the Caribbean with two friends, inspired by a troubling dream, she senses her life beginning to unravel--and in a panic packs her bag in the middle of the night and abandons her friends at the next port of call. The unexpected and beautiful adventure that follows provides Avey with the links to the culture and history she has so long disavowed. Originally published in 1983, Praisesong for the Widow was a recipient of the Before Columbus Foundation American Book Award, and is presented here in a beautiful new hardcover edition as the second title in McSweeney's Of the Diaspora series.

"Astonishingly moving."
-Anne Tyler, The New York Times Book Review

About Of the Diaspora
McSweeney's Of the Diaspora is a series of previously published works in Black literature whose themes, settings, characterizations, and conflicts evoke an experience, language, imagery and power born of the Middle Passage and the particular aesthetic which connects African-derived peoples to a shared artistic and ancestral past. Wesley Brown's Tragic Magic, the first novel in the series, was originally published in 1978 and championed by Toni Morrison during her tenure as an editor at Random House. This Of the Diaspora edition features a new introduction written by Brown for the series. Tragic Magic will be followed by Paule Marshall's novel of a Harlem widow claiming new life. Praisesong for the Widow was originally published in 1983 and was a recipient of the Before Columbus Foundation American Book Award. The series is edited by writer Erica Vital-Lazare, a professor of creative writing and Marginalized Voices in literature at the College of Southern Nevada. Published in collectible hardcover editions with original cover art by Sunra Thompson, the first three works hail from Black American voices defined by what Amiri Baraka described as strong feeling "getting into new blues, from the old ones." Of the Diaspora-North America will be followed by series from the diasporic communities of Europe, the Caribbean and Brazil.

In this revelatory work, Ruha Benjamin calls on us to take imagination seriously as a site of struggle and a place of possibility for reshaping the future.

A world without prisons? Ridiculous. Schools that foster the genius of every child? Impossible. Work that doesn’t strangle the life out of people? Naive. A society where everyone has food, shelter, love? In your dreams. Exactly. Ruha Benjamin, Princeton University professor, insists that imagination isn’t a luxury. It is a vital resource and powerful tool for collective liberation.

Imagination: A Manifesto is her proclamation that we have the power to use our imaginations to challenge systems of oppression and to create a world in which everyone can thrive. But obstacles abound. We have inherited destructive ideas that trap us inside a dominant imagination. Consider how racism, sexism, and classism make hierarchies, exploitation, and violence seem natural and inevitable—but all emerged from the human imagination.

The most effective way to disrupt these deadly systems is to do so collectively. Benjamin highlights the educators, artists, activists, and many others who are refuting powerful narratives that justify the status quo, crafting new stories that reflect our interconnection, and offering creative approaches to seemingly intractable problems.

Imagination: A Manifesto offers visionary examples and tactics to push beyond the constraints of what we think, and are told, is possible. This book is for anyone who is ready to take to heart Toni Morrison’s instruction: “Dream a little before you think.”