An all-new hardcover collector's edition of the first in the award-winning Hoops series. New York Times bestselling author Kennedy Ryan takes sports romance to a whole new level with emotionally rich and complicated love stories set in the explosive world of the NBA.

She kissed the prince and he turned into a fraud. Now, her fairy tale is upside-down.

Iris DuPree meets August West in a sports bar during her last semester of college and their conversation of a lifetime sends sparks flying in every direction. The connection is undeniable…but the timing is all wrong. August is poised for the NBA draft, and Iris belongs to another man―basketball's "golden boy" and August's long-time rival.

The two go their separate ways, but they often recall that electric night and what could have been. While August has embarked on his all-star life, studded with wealth and fame, Iris's perfect public relationship has become a nightmare behind closed doors. A tarnished dream of fool's gold.

When August re-enters her life, the world seems briefly bright again, but Iris's darkest nights are not over yet. To survive, she must build her own strength and trust that her bond with August can endure after all this time.

Even when her fraudulent prince has vowed never to let her go.

A brilliant scholar imparts the lessons bequeathed by the Black community and its remarkable artists and thinkers.

Farah Jasmine Griffin has taken to her heart the phrase "read until you understand," a line her father, who died when she was nine, wrote in a note to her. She has made it central to this book about love of the majestic power of words and love of the magnificence of Black life.

Griffin has spent years rooted in the culture of Black genius and the legacy of books that her father left her. A beloved professor, she has devoted herself to passing these works and their wisdom on to generations of students.

Here, she shares a lifetime of discoveries: the ideas that inspired the stunning oratory of Frederick Douglass and Malcolm X, the soulful music of Marvin Gaye and Stevie Wonder, the daring literature of Phillis Wheatley and Toni Morrison, the inventive artistry of Romare Bearden, and many more. Exploring these works through such themes as justice, rage, self-determination, beauty, joy, and mercy allows her to move from her aunt’s love of yellow roses to Gil Scott-Heron’s "Winter in America."

Griffin entwines memoir, history, and art while she keeps her finger on the pulse of the present, asking us to grapple with the continuing struggle for Black freedom and the ongoing project that is American democracy. She challenges us to reckon with our commitment to all the nation’s inhabitants and our responsibilities to all humanity.

Addresses the political and aesthetic evolution of African American literature and its authors during the Cold War, an era McCarthy calls “the Blue Period.”

In the years after World War II, to be a black writer was to face a stark predicament. The contest between the Soviet Union and the United States was a global one—an ideological battle that dominated almost every aspect of the cultural agenda. On the one hand was the Soviet Union, espousing revolutionary communism that promised egalitarianism while being hostile to conceptions of personal freedom. On the other hand was the United States, a country steeped in racial prejudice and the policies of Jim Crow.

Black writers of this time were equally alienated from the left and the right, Jesse McCarthy argues, and they channeled that alienation into remarkable experiments in literary form. Embracing racial affect and interiority, they forged an aesthetic resistance premised on fierce dissent from both US racial liberalism and Soviet communism. From the end of World War II to the rise of the Black Power movement in the 1960s, authors such as Richard Wright, James Baldwin, Gwendolyn Brooks, and Paule Marshall defined a distinctive moment in American literary culture that McCarthy terms the Blue Period.

In McCarthy’s hands, this notion of the Blue Period provides a fresh critical framework that challenges long-held disciplinary and archival assumptions. Black writers in the early Cold War went underground, McCarthy argues, not to depoliticize or liberalize their work, but to make it more radical—keeping alive affective commitments for a future time.

A collection of exceptional new essays by one of the most significant contemporary writers on the world stage

Tracing a loose arc from Edwidge Danticat’s childhood to the COVID-19 pandemic and recent events in Haiti, the essays gathered in We’re Alone include personal narrative, reportage, and tributes to mentors and heroes such as Toni Morrison, Paule Marshall, Gabriel García Márquez, and James Baldwin that explore several abiding themes: environmental catastrophe, the traumas of colonialism, motherhood, and the complexities of resilience.

From hurricanes to political violence, from her days as a new student at a Brooklyn elementary school knowing little English to her account of a shooting hoax at a Miami mall, Danticat has an extraordinary ability to move from the personal to the global and back again. Throughout, literature and art prove to be her reliable companions and guides in both tragedies and triumphs.

Danticat is an irresistible presence on the page: full of heart, outrage, humor, clear thinking, and moral questioning, while reminding us of the possibilities of community. And so “we’re alone” is both a fearsome admission and an intimate invitation―we’re alone now, we can talk. We’re Alone is a book that asks us to think through some of the world’s intractable problems while deepening our understanding of one of the most significant novelists at work today.

A raw and lyrical exploration of the confining expectations of womanhood and, if we dare, what lies beyond those limitations--from a writer Roxane Gay calls "vibrant and thoughtful."

Gorgeous, badass, and practically waiting to pounce, Good Woman: A Reckoning is acclaimed essayist Savala Nolan's follow-up to her "standout collection" (New York Times Book Review) Don't Let It Get You Down.

A lifetime of playing by the rules of female social conditioning is not what it's cracked up to be for Nolan. The years of making herself smaller (literally and metaphorically); the sexual advances that led to more than she wanted; the bad marriage she fought like hell to keep; all the ways others questioned her identity or choices and she let it slide to keep the peace; her silence when requested; her body when desired--none of it worked. None of it protected her the way it was advertised to.

Nolan noticed the same was true for the women around her and the women in history she read about. Across time and location, they were raised to be agreeable and "good." Hyper-visible as sexual objects but invisible as full people. Living in a physical world created by men for men. Taking on the ultimate role of birth-giver and caretaker, yet seeing it remain an unsung act, even as it's a God-like endeavor. Only in midlife did Nolan begin to realize she was capable of living outside these cages of conditioning so slyly insidious that they're nearly invisible.

Good Woman elegantly probes the knotty conditions themselves, the costs of adhering to them, and what happens when one refuses to comply. The twelve stunning and unforgettable essays blend memoir, reportage, and history to create a collection that is alternately bold, brash, and explosive ... and ravishingly tender, sensual, and joyous. Nolan takes aim at big and old ideas, and she does not miss. Hers is a testimony to witness and to savor.

What’s new, now and next from contemporary Black artists

This book surveys the work of a new generation of Black artists, and also features the voices of a diverse group of curators who are on the cutting edge of contemporary art. As mission-driven collectors, Bernard I. Lumpkin and Carmine D. Boccuzzi have championed emerging artists of African descent through museum loans and institutional support. But there has never been an opportunity to consider their acclaimed collection as a whole until now.

Edited by writer Antwaun Sargent (author of The New Black Vanguard: Photography Between Art and Fashion), Young, Gifted and Black draws from this collection to shed new light on works by contemporary artists of African descent. At a moment when debates about the politics of visibility within the art world have taken on renewed urgency, and establishment voices such as the New York Times are declaring that “it has become undeniable that African American artists are making much of the best American art today,” Young, Gifted and Black takes stock of how these new voices are impacting the way we think about identity, politics and art history itself.

Young, Gifted and Black contextualizes artworks with contributions from artists, curators and other experts. It features a wide-ranging interview with Bernard Lumpkin and Thelma Golden, director and chief curator of the Studio Museum in Harlem; and an in-depth essay by Antwaun Sargent situating Lumpkin in a long lineage of Black art patrons. A landmark publication, this book illustrates what it means (in the words of Nina Simone) to be young, gifted and Black in contemporary art.

Artists include: Mark Bradford, David Hammons, Glenn Ligon, Kerry James Marshall, Julie Mehretu, Adam Pendleton, Pope.L, LaToya Ruby Frazier, Henry Taylor, Mickalene Thomas, Lynette Yiadom-Boakye, Tunji Adeniyi-Jones, Sadie Barnette, Kevin Beasley, Jordan Casteel, Jonathan Lyndon Chase, Bethany Collins, Noah Davis, Cy Gavin, Allison Janae Hamilton, Tomashi Jackson, Samuel Levi Jones, Deana Lawson, Norman Lewis, Eric N. Mack, Arcmanoro Niles, Jennifer Packer, Christina Quarles, Jacolby Satterwhite, Paul Mpagi Sepuya, Sable Elyse Smith, Chanel Thomas, Stacy Lynn Waddell, D’Angelo Lovell Williams, Brenna Youngblood, and more.

The Racial Contract puts classic Western social contract theory, deadpan, to extraordinary radical use. With a sweeping look at the European expansionism and racism of the last five hundred years, Charles W. Mills demonstrates how this peculiar and unacknowledged "contract" has shaped a system of global European domination: how it brings into existence "whites" and "non-whites," full persons and sub-persons, how it influences white moral theory and moral psychology; and how this system is imposed on non-whites through ideological conditioning and violence. The Racial Contract argues that the society we live in is a continuing white supremacist state.

As this 25th anniversary edition—featuring a foreword by Tommy Shelbie and a new preface by the author—makes clear, the still-urgent The Racial Contract continues to inspire, provoke, and influence thinking about the intersection of the racist underpinnings of political philosophy.

Unfolding as both an archive and an origin story, this publication marks the first institutional monograph dedicated to Detroit-born artist LaKela Brown, whose sculptural reliefs translate the language of adornment into an aesthetic of memory, intimacy, and cultural lineage. Brown's plaster casts and gilded surfaces echo the textures of jewelry, bamboo earrings, rope chains, hair braids, and domestic patterns―motifs drawn from Black aesthetics and everyday life. Through composition, touch, and repetition, she transforms these symbols of identity and style into a visual vocabulary that honors embodied experience and cultural inheritance. Essays by Rhea L. Combs, Jessica Kenyatta Walker, and Jova Lynne bring together perspectives from Black feminist theory, curatorial practice, and contemporary art to frame Brown's work within longer genealogies of Black material culture and expressive labor, tracing the ways Brown's sculptural gestures mirror the intricate processes through which stories and aesthetics are passed across generations.

In the tradition of The Immortal Life of Henrietta Lacks, a page-turning 93-year history of Crownsville Hospital, one of the nation’s last segregated asylums, that New York Times bestselling author Clint Smith describes as “a book that left me breathless.”

On a cold day in March of 1911, officials marched twelve Black men into the heart of a forest in Maryland. Under the supervision of a doctor, the men were forced to clear the land, pour cement, lay bricks, and harvest tobacco. When construction finished, they became the first twelve patients of the state’s Hospital for the Negro Insane. For centuries, Black patients have been absent from our history books. Madness transports readers behind the brick walls of a Jim Crow asylum.
 
In Madness, Peabody and Emmy award-winning journalist Antonia Hylton tells the 93-year-old history of Crownsville Hospital, one of the last segregated asylums with surviving records and a campus that still stands to this day in Anne Arundel County, Maryland. She blends the intimate tales of patients and employees whose lives were shaped by Crownsville with a decade-worth of investigative research and archival documents. Madness chronicles the stories of Black families whose mental health suffered as they tried, and sometimes failed, to find safety and dignity. Hylton also grapples with her own family’s experiences with mental illness, and the secrecy and shame that it reproduced for generations.
 
As Crownsville Hospital grew from an antebellum-style work camp to a tiny city sitting on 1,500 acres, the institution became a microcosm of America’s evolving battles over slavery, racial integration, and civil rights. During its peak years, the hospital’s wards were overflowing with almost 2,700 patients. By the end of the 20th-century, the asylum faded from view as prisons and jails became America’s new focus.
 
In Madness, Hylton traces the legacy of slavery to the treatment of Black people’s bodies and minds in our current mental healthcare system. It is a captivating and heartbreaking meditation on how America decides who is sick or criminal, and who is worthy of our care or irredeemable.

A critical collection of conversations with Toni Morrison, Alice Walker, Gayl Jones and other Black women writers that changed the scope of Black literature in the 20th century and beyond.

“Black women writers and critics are acting on the old adage that one must speak for oneself if one wishes to be heard.” —Claudia Tate, from the introduction

Long out of print, Black Women Writers at Work is a vital contribution to Black literature in the 20th century. 

Through candid interviews with Maya Angelou, Toni Cade Bambara, Gwendolyn Brooks, Alexis De Veaux, Nikki Giovanni, Kristin Hunter, Gayl Jones, Audre Lorde, Toni Morrison, Sonia Sanchez, Ntozake Shange, Alice Walker, Margaret Walker, and Sherley Anne Williams, the book highlights the practices and critical linkages between the work and lived experiences of Black women writers whose work laid the foundation for many who have come after.

Responding to questions about why and for whom they write, and how they perceive their responsibility to their work, to others, and to society, the featured playwrights, poets, novelists, and essayists provide a window into the connections between their lives and their art.

Finally available for a new generation, this classic work has an urgent message for readers and writers today.

Featuring A Rage in Harlem, The Real Cool Killers, The Crazy Kill, & Cotton Comes To Harlem

A one-volume selection of four novels in a legendary detective series—blistering, groundbreaking capers set in Harlem's criminal underworld—by master crime writer Chester Himes A friend and contemporary of Richard Wright and James Baldwin—and every bit their equal—Chester Himes is the acclaimed author of literary novels, stories, and essays, as well as the classic crime fiction series for which he is best known, featuring detectives Coffin Ed Johnson and Grave Digger Jones. Himes authored nine novels in the Harlem Detectives series, and in these four popular, accomplished installments, his cold, wisecracking sleuths are thrown into a brutal, murderous world, full of conniving con men, gun-toting gangsters, and opium-smoking preachers. Himes's vision of Harlem's criminal underground is both riotous entertainment, enriched by his deftly plotted mysteries and scintillating dialogue, and a penetrating look into the fraught tensions of race in postwar America. Everyman's Library pursues the highest production standards, printing on acid-free paper, with full-cloth cases with two-color foil stamping, decorative endpapers, silk ribbon markers, European-style half-round spines, and a full-color illustrated jacket. Contemporary Classics include an introduction, a select bibliography, and a chronology of the author's life and times.