In this meticulously researched and vividly written account, a prominent historian reclaims a forgotten incident of racial violence in the Jim Crow South.

The Rifle and the Plough reconstructs a little-known episode from the summer of 1910, when the Black farming settlement of Sandy Beulah in East-Central Texas came under attack. White mobs waged war on prosperous Black landowners; rumors became weapons; celebration became provocation. Historian Steven A. Reich shows how the massacre unfolded and why it happened: the growing accumulation of land by Black residents, heightened racial tensions following boxer Jack Johnson’s heavyweight title victory, and white resistance to Black autonomy and public festivity, including Juneteenth. The Rifle and the Plough recovers the rise and destruction of a thriving Black community and asks why this history still matters. By linking racial violence to struggles over historical memory, land theft, and accountability, Reich speaks directly to contemporary debates about how the nation confronts its past, what justice demands of the present, and what reparative futures might yet be imagined.

59 illustrations

For readers of Nightcrawling, My Absolute Darling, and My Dark Vanessa, this captivating debut centers on nineteen-year-old Keke as she sets out on a desperate quest for freedom and a stable life for herself and her young daughter.

Keke is a young mother living in the basement of a house in Newark, New Jersey under the watchful eye of a man called Daddy. For five years, she has been told that she’ll be able to move upstairs once she and the other “girls” being trafficked hit the magic number. When that happens, she will no longer have to work the motels along the interstate. Her daughter, Angel, will be able to go to school, and Keke will live with Daddy in a real home, like a real family.

But then Keke gets picked up by vice cops and diverted to a women’s shelter, upending the delicate balance of her life. Hope for a new beginning starts shining through the cracks―but she doesn’t trust the system to save her. Unwilling to surrender Angel to foster care, Keke needs to figure out how to get both herself and her daughter to freedom.

Sakinah Hofler’s debut is a taut, incendiary testament to a mother’s love, and an uncompromising evocation of how desperation can drive you through to the light.

A New York Times Notable Book

A landmark reinterpretation of the civil rights movement that challenges reductive heroic narratives of the 1950s and 1960s and invigorates new debates and possibilities for the future of the struggle for liberation.

We are all familiar with the romantic vision of the civil rights movement: Heroic African Americans and their allies courageously triumphed over racial oppression, forging a new consensus in American life and law. What are the effects of this celebratory storytelling? What happens when a living revolt against injustice becomes an embalmed museum piece?

In this innovative work, Brandon Terry rejects the authority of the romantic narrative―the “arc of justice” story found in popular histories, the speeches of Barack Obama, and the writings of John Rawls―while also pushing back against the rival ironic mode of Afropessimism. Though sympathetic to the critiques of Afropessimists, Terry ultimately finds their thought self-undermining.

Instead of romance or irony, he argues, the civil rights movement is best understood through the lens of tragedy. By challenging the attachment to triumphant pasts, Terry demonstrates that tragedy exemplifies what the civil rights movement has been and can still be. Provocative and original, Shattered Dreams, Infinite Hope offers optimism without naïveté, to train our judgment and resilience in the face of reasonable despair.

From Pulitzer Prize and National Book Award-winning author Louise Erdrich, a novel about the collisions of youth—with want, with art, with rage—as experienced by a young Chippewa writer in politically fraught 1970s America.

“Where do we find a definition? Where do we find what a poet is?”

Fargo, 1971. Erdrich’s narrator spends her days sneaking pocketsful of lasagna home from waitressing, missing the author friends who have floated out of town again, and wondering half-seriously if the poetry of local third graders is outdoing her own. In search of more life, more inspiration, and—always—enough food to get through the next day, she embarks on a series of jobs, affairs, and travels that illuminate the wild eccentricities of the American national character as much as they do the injustices—and resistances—boiling around her in North Dakota.

I’m Hungry explores shocking violence, unearthly beauty, and voracious appetites of all kinds, from sexual hunger to the need for a life transfigured by poetry. It answers the question of “what a poet is” with an indelible portrait of a young woman in a fractured community who finds her voice even as she encounters lovers, hustlers, and specters whose own hungers threaten to pull her under.

A bold, gorgeously textured, and unforgettable moral fable, this compelling novel will be revelatory to her legions of fans.

An ambitious teen enrolls at an elite science institute in Morbid Curiosities, a young adult thriller from author S. Hati.

When the Institute’s invitation arrived at my doorstep, it felt like it had been inked in my blood, sweat, and tears.

Aarya’s life plan has been set for as long as she can remember: finish high school with a bang, attend the best college she can get into, then land a prestigious biology research job. Her ticket to this dream is a one-year program at the Elizabethan Institute, the preeminent organization for life sciences in the United States, currently on the cusp of revealing a major project that could transform the worlds of biology and medicine.

But as Aarya tries to settle in to a school with sky-high academic expectations and research cloaked in mystery, it becomes clear that someone doesn’t want her there. As the scholarship student surrounded by rich, cutthroat peers who seem all too willing to torment her, she never expected to make friends, but the notes warning her to run rattle her to her core. She finds an ally in Sofia, a mysterious girl who claims to be the subject of closed-door Institute experiments and begs for Aarya’s help in discovering the Institute's true goal.

As rumors of mutated flora and fauna in the nearby city circulate and a murder investigation rocks the Institute, Aarya must navigate Sofia’s growing paranoia and her own increasingly unreliable memory to determine which classmates she can trust―and which would rather see her dead.

"A sharply intelligent, darkly fascinating academic thriller about unraveling the hard truths of who you are and who you want to be - and the final twist made me gasp out loud." ―Andrew Joseph White, New York Times-bestselling and award-winning author of Compound Fracture

The story that captivated readers―now complete for the first time.

Passion for the Heist introduced readers to the love story of Passion Adams and Percy “Pain” Wells―a tale of survival, betrayal, and love. Now, experience The Wild Hearts Duology in one volume, including Passion for the Heist and the never-before-published sequel, Murder of Crows.

A crime brought them together. Grief bound them. Love made them infamous.

Percy “Pain” Wells returned from prison with two things: a ruined reputation and his grandmother’s medical bills. Debts don’t care if he’s trying to go straight, and the streets he once ruled now whisper his name like a warning.

Passion Adams has nothing left but the locket holding her parents’ ashes, a monster for an uncle, and habits that numb the pain. When the locket is stolen in a robbery, she thinks it’s gone forever. Then it turns up in the hands of a stranger with hardened eyes and a calm that screams danger.

Pain should walk away, but something about Passion―her fire, her pain―won’t let him go. Their lives collide, and what starts as a mission to make things right becomes a fight to stay alive. Their explosive love turns two broken souls into the most wanted names in the city, hunted by cops and the underworld alike.

For Passion and Pain, there are only two ways out: disappear into the shadows or become the story everyone tells.

A visionary new collection by former poet laureate of the United States and winner of the Pulitzer Prize Tracy K. Smith

The forest in Tracy K. Smith’s brilliant new work is and is not a metaphor. While these poems strive to hear and to heed the voices of the earth and its nations of trees, they also test a discomfiting view of humanity, not as divided and opposing factions but as a vast cacophonous family connected by a single deep root.

The Forest grapples with violence, cynicism, and injustice by tapping into the ecstatic for much-needed insight, humility, and conviction. Enlivened by slow time and spiritual desire, Smith’s poems are political and devotional conduits that bear witness to meditative visions and channeled conversations with ancestors and ascended guides. Several poems honor motherhood and the particular care bound up in mothering Black sons. Others come to terms with grief and a failed marriage now so distant as to be another life. Hovering always near, the divine feminine is a figure called forth to refute the God of War.

The Forest is a magnificent act of foresight beyond the granular realities of partisan depravity, polarization, and indifference. Smith reaches an exhilarating new height, in contact with the mythic and the rapturous.

The riveting, darkly humorous, and deeply strange story of three roommates whose everyday struggle to survive in New York is complicated by the intestine-eating demon who haunts their apartment.

Leni was kidnapped and almost sacrificed to the devil as a child, but now she’s perfectly fine. Aside from the fact that she has four reflections in the mirror…and one of them wants her to poison people.

Emerson was a leading heart surgeon until The Incident that left his patient dead. Now he’s too sick to work, keeps finding severed fingers in his water bottles, and is followed around by a faceless Girl Scout with a creaky red wagon.

Jasper is a line cook with a criminal record, just trying to keep his chosen family together. Sure, he sees a man in the shadows who likes the taste of blood, but he’s very good at ignoring that. He would do anything for Leni and Emerson. Anything.

They’re fine. They’re normal. They’re roommates making it work in New York City.

That is, until a demon leaves his sigil on their wall.

Now, they have seven days to bring Sychar a sacrifice, or he’ll tear off their skin. Who knew demon-slaying wasn’t a valid excuse to miss work? Why are murder supplies so expensive? Just how is a low-income household supposed to afford a human sacrifice?

As their personal ghosts grow louder and Sychar’s deadline draws nearer, Leni, Emerson, and Jasper discover just how far they’ll go to protect each other.

For readers who love:
* Grady Hendrix and Stephen King
* Morally gray protector
* Haunted apartment
* Found family in danger
* Demon-slaying
* Darkly funny, deeply haunted stories

We Made the World: Five Centuries of Queens, Warriors, and Other Foremothers traces five centuries of history through twelve extraordinary women of African descent—from queens and warriors to artists and activists—weaving together collective memory, oral tradition, and personal grief into a landmark work that places Black women at the center of world history.

In 1949, a seamstress from a small coastal town in the Gold Coast colony stood up in a room full of men and voted to split from the most powerful political party in the country. Her name was Hannah Kudjoe. She spent the next decade organizing the women who would win Ghana's first democratic election and help make it the first sub-Saharan African nation to gain independence from European colonial rule. When Nkrumah published his autobiography, she wasn't in it.

We Made the World does for twelve women what it does for Hannah Kudjoe. It finds the woman who was in the room, who was essential to the room, and whose name was removed from the record the moment her usefulness to powerful men was exhausted.

We're talking about Queen Njinga of Angola, who fought the Portuguese to a standstill for forty years and died at eighty still a sovereign. Wangarĩ Maathai, the Nobel Peace Prize winner who saved a Nairobi forest by walking upstream through a river at dawn to plant trees while the police watched. Brenda Fassie, the queer Black pop icon who sang South Africa through the end of apartheid and whose music still stops a room on any continent.

The author traveled to eleven countries to write this book. She gathered oral histories from descendants and community keepers across four continents. And she wrote it while experiencing great loss and grief which means this book knows in its bones what it costs to carry someone's memory, and what it costs not to.

We Made the World is five hundred years of history rewritten from the inside. It is the book that asks what we have lost by not knowing these women's names, and begins the important work of giving that back to us all.

A sweeping history of the African American struggle against police brutality, exposing how state violence underpins the capitalist economy and tracing the long resistance movement in pursuit of racial justice and freedom for all

Rekia Boyd, Timothy Thomas, Jonathan Sanders, Breonna Taylor, Jordan Neely, and Michael Brown were casualties of war. Whether we call it a war on crime, a war on militants, or a war on drugs, law enforcement at every level has made Black neighborhoods across the country into killing fields and open-air prisons, stripping vulnerable people of equal rights, freedom of movement, and even protection from torture. In a smoldering indictment, Robin D. G. Kelley excavates the deep history of this war through the lives of the victims and their communities, drawing a direct line from today’s fatalities to the “blood at the root”―the racial terror at the heart of America’s system of exploitation and wealth accumulation.

It is a system, Kelley shows, that depends on racial and economic inequality and is maintained through not only tools of force but also tools of wealth extraction, from lynch law in Georgia to segregated housing in St. Louis to gentrification, predatory lending, civil forfeiture, and even today’s militarization of ICE.

At the same time, Making a Killing is a history of the counterwar, the legacy of collective Black resistance―the movements, tactics, thinkers, and leaders―that has long been a catalyst for change and the tip of the spear in a broader fight against rising fascism. Demanding not only justice for Black victims but also vast and visionary social transformation, these movements, from Reconstruction to the present day, hold out the possibility that we may lay to rest the America we know so that a new world may be born.

“Engrossing and informative.” ―Zaakir Tameez, New York Times Book Review

From one of the most acclaimed and influential historians of the United States, an insightful guide to our history and why it matters.

Eric Foner has done more to shape the public and professional understanding of American history than any other scholar. The preeminent historian of the Civil War era, Foner’s keynote has been American freedom and the recurring battles over its meanings and boundaries. His award-winning works show that freedom has been a birthright for some and a struggle for others, that rights gained can also be lost, and that they must always be tended with knowledge and vigilance. The present political moment makes the importance of these themes abundantly clear.

This collection of Foner’s recent reviews and commentaries demonstrates the range of his interests and expertise, running from slavery and antislavery, through the disunion and remaking of the United States in the nineteenth century, Jim Crow and the civil rights movement, and into our current politics. Each piece shows a master at work, melding historical knowledge and balanced judgment with crystalline prose. Foner takes up towering figures from Washington to Lincoln, Douglass, and Rosa Parks, pivotal events such as the Fugitive Slave Act and the Tulsa Race Massacre, and the fragility of constitutional guarantees to civil liberties, due process, and birthright citizenship, whether in times of war or peace. He also explores recent controversies over how to commemorate, and how to teach, our history.

From high fashion to everyday clothes, this book looks at the personal and political importance of Black style from the 1880s to the present.

Both during and after slavery in North America, “Sunday best” referred to clothes reserved for church or special occasions. Dressing in one’s Sunday best conveyed a sense of dignity and self-worth. Sunday best styling evolved after emancipation into the twentieth century, reflecting subsequent periods of Black cultural liberation, empowerment, and upward mobility. It is emblematic of the ways that self-fashioning in African-diasporic communities affirms humanity and communicates identity.

With examples from Canada, the Caribbean, the United States, and the United Kingdom, Sunday Best features archival and contemporary fashion alongside photography, painting, sculpture, and time-based media, looking at the significance of Black style. Essays by an interdisciplinary group of curators, designers, and scholars consider how communities throughout the African diaspora have used style as a reminder of one’s value, visibility, and agency, and the enduring influence of Sunday best dressing on artistic expression.

This richly illustrated volume is organized around the following themes:

• Origins, featuring fashion design by Christopher John Rogers and photography by James Van Der Zee
• Black church, with art by Coreen Simpson, Gordon Parks, and Laura Wheeler Waring
• Migration, through designers such as Foday Dumbuya
• Liberation, with fashion design by Spencer Badu and photography by Chantal Regnault
• Call and response, including fashion design by Patrick Kelly and photography by Melodie McDaniel

Published in association with the Art Gallery of Ontario and the Philadelphia Museum of Art

Exhibition Schedule

Art Gallery of Ontario
(October 6, 2026–February 28, 2027)

Philadelphia Museum of Art
(May 1, 2027–August 8, 2027)