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)

DELUXE LIMITED EDITION first printing featuring stenciled edges

The LONG AWAITED adult debut novel by beloved NEW YORK TIMES BESTSELLING Dhonielle Clayton: a romantic contemporary fantasy novel set in New Orleans, about a woman pulled back into a forbidden love, kicking off a brand new series

Collette Marchand never wanted to return home to the immortal wards of New Orleans, let alone inherit her mother’s blood-soaked business. Collette left magic and a great love behind a decade ago, tucking herself away in Boston. But now, her mother, Lady Red, the living Conjure Saint and matriarch of the most notorious Conjure House, has died for the final time.

Back in New Orleans, Téo Baptiste is stuck. He’s working at the same hospital where, ten years ago, he lost everything – his sobriety and the love of his life, Collette. Nights at the busiest ER in the city help him bury his feelings and ignore his magical destiny to take over the undead immortal ward. But Lady Red’s death might be his chance to make things right with Collette again, and build a new future for himself.

When Collette is summoned back home to bury her mother, she uncovers Lady Red’s greatest secret: the true source of her power is a stolen card from the Deck of Life. A card that, along with the family business, passes to Collette. Determined to rewrite the past, Collette needs help from the last person she wants to see ever again: her former flame and the man who shattered her heart, Téo. Now, Collette must confront whether she’s destined to become the next Lady Red and rule over the immortal wards of New Orleans and beyond … or take a second chance at love.

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.

In a brilliant departure from the novels that made Jesse Q. Sutanto a USA Today bestselling author—including Dial A for Aunties—comes the first book in a debut dark fantasy duology, following an assassin, a scholar, a con man, and a guard in a race to rediscover powerful lost magic and save their world...

Mara has no memory of life before her assassin training behind the fortress-like walls of Tchu-Morrokhai, which has been her world since she was five. Practicing discipline and strategy, sacrifice and solitude, she has dedicated herself to resisting the Divine Empress’s plans of eradicating the all-but-forgotten magic. She longs for a world once again filled with magic—and freedom and love. And she’ll do whatever it takes to find those things.

In the faraway city of Velingard, Livya is the privileged daughter of the revered scientist whose invention of an indestructible new metal was the catalyst for a great revolution. Yet Livya’s bored of suitors and balls, more interested in philosophical debates. But when an invite to a secret salon leads to a kidnapping attempt, Livya is suddenly on the run—with the unlikely aid of charming con man Kaian, a once dear childhood friend inexplicably turned frosty stranger.

Captain Fonde has served Velingard faithfully in the twenty years since the revolution, and all has been peaceful... until now, when he’s informed that their “indestructible” metal is inexplicably starting to crumble. Ships, bridges, buildings, statues—their entire post-revolution world is literally about to come apart. Could it be that the metal—and therefore the revolution—was flawed all along? Or is there something darker—evil, ancient, inhuman—at play?

With stunning world-building, Jesse Q. Sutanto weaves an epic tale of characters whose lives irrevocably intertwine—and unravel—as paths collide across continents, racing toward an explosive twist that will forever change all of their fates...

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.

Capone promised he’d keep his family safe, but Erin’s afraid he’ll die trying, in the third book of #BookTok favorite Jahquel J.’s Delgato Family saga.

Everything’s looking up for Erin. She married her best friend in a picturesque sunset ceremony on the beaches of Barbados, they’re expecting a baby girl, and the pair are surrounded by their loved ones. Erin’s even made nice with Capone’s ex.

But danger’s never far away, and that scares Erin. Every day, Capone risks his life handling business in the streets. Then, a serious health scare forces him to slow down, and Erin and her brother, Jaiden―now entrenched in Capone’s world himself―purchase firearms to protect themselves.

Having dealt with arrests, shoot-outs, high-speed chases, and Molotov cocktails, Erin just wants to live with her husband and daughter in peace. Now that Capone has decided to take a step back from the grind, will she finally get the happily-ever-after she longs for?

The third book in the Delgato Family universe, Capone took BookTok by storm.

Capone III is an urban romance featuring depictions of murder, domestic violence, and substance abuse as well as explicit scenes. It is intended for mature readers.

A New York Times Notable Book

The Pulitzer Prize-winning critic investigates the roles of race and sex in his own life and in literary history.

Daring and fiercely original, The Women is at once a memoir, a psychological study, a sociopolitical manifesto, and an incisive adventure in literary criticism. It is conceived as a series of portraits analyzing the role that sexual and racial identity played in the lives and work of the writer's subjects: his mother, a self-described "Negress," who would not be defined by the limitations of race and gender; the mother of Malcolm X, whose mixed-race background and eventual descent into madness contributed to her son's misogyny and racism; brilliant, Harvard-educated Dorothy Dean, who rarely identified with other Black people or women, but deeply empathized with white gay men; and the late Owen Dodson, a poet and dramatist who was female-identified and who played an important role in the author's own social and intellectual formation.

Hilton Als submits both racial and sexual stereotypes to his inimitable scrutiny with relentless humor and sympathy. The results are exhilarating. Written in 1996, long before the rise of the genre-defying memoir, The Women was a prescient work of criticism and self-investigation whose clear-eyed insight still feels fresh and urgent to this day. The Women is that rarest of books: a memorable work of self-investigation that created a form all its own.

From a powerful new voice in fiction comes a stunning multigenerational epic, spanning from 1920s Haiti to 1990s New York, centered on the disappearance of a little girl from Brooklyn's J'ouvert celebrations

Brooklyn, 1996. Serenity Marcelin and her six-year-old daughter, Jouvay, have spent the summer reeling from an unexpected, devastating loss. Just when the two of them are beginning to find solace within their new family dynamic, Jouvay disappears into a crowd over Labor Day weekend and Serenity’s entire world changes in an instant.

In order to understand the events leading to Jouvay’s sudden disappearance, Serenity must unearth the long-buried secrets―and ghosts―of her family’s shocking past.

Told through the eyes of the unforgettable Marcelin women and the people closest to them, Idrissa Simmonds-Nastili's Backstitch embroiders a profound tale of hope and resistance, transporting readers to the city of Jérémie during the years of the US occupation of Haiti and to the vibrant streets of New York. A sweeping story of motherhood, sisterhood, resistance, generational trauma, and liberation, this novel charts the lives of the ghosts, secrets, and languages we can’t escape from―even when we try to bury them.

From the Washington Post’s first race and ethnicity reporter, a poignant investigation into the aftermath of the Great Migration, the promise of a Second Great Migration, and what future Black communities could look like across America in this eye-opening and thoughtful study, a mix of The Warmth of Other Suns and How the Word Is Passed.

Since the 1990s, demographers have been documenting a new Great Migration: millions of Black Americans leaving Northern and Western cities for the South their parents and grandparents fled during Jim Crow. Huge numbers of Black people have been moving to Memphis, Houston, Charlotte, and other booming metropolises in the hopes of recreating the vibrant communities their grandparents once left. Have they found what they were looking for? Is it possible for Black Americans to have community, economic prosperity, and safety all in one place? And if so, where?

In the Search for Black Mecca, Emmanuel Felton examines how these questions are playing out in real lives today, going into the homes of Black Americans who are weighing what they want and where they hope to find it. He identifies three archetypes—“Those Who Stay,” “Those Who Leave,” and “Those Who Build Something New”—and reveals the costs and benefits of each decision, while seeking answers to deeper questions regarding communal responsibility, what’s needed to make Black neighborhoods thrive, and how to manage the fact that white people are often threatened by Black success. He also unravels his own family’s migration story through the lives of his two grandfathers—a prominent New Orleans dentist and a troubled musician who migrated to Oakland, California.

Through these stories, Felton crystalizes our understanding of what it means to find—or to create —our own meccas: radical spaces for Black joy, freedom, and imagination, even when the external world tries to take those places away.

Celebrate the release of If This World We're Mine with Arriel Vinson!

EVENT DEETS

When: Thursday, January 28 @ 7 PM CST

Where: Kindred Stories (2310 Elgin St. Houston, TX 77004)

How: 

• RSVP ONLY to reserve your seat.

• RSVP WITH BOOK to reserve your seat and purchase a copy If This World We're Mine, supporting both the author and our store programming. The book will be available for pickup at the event.

Please Note: Books purchased from other retailers are not permitted in the bookstore and are not eligible for the signing or photo line. To participate in the signing and photo opportunity, you must purchase a copy from Kindred Stories.If you already have a copy from Kindred Stories feel free to choose the RSVP only option. 

If you purchase a ticket and are unable to attend the event, your ticket is non-refundable. If your ticket includes a book, an email will be sent to all attendees before and after the event with instructions on how to receive your book. Books must be claimed within 14 days following the event. If your book is not retrieved it will be returned to the publisher and will not be available for pick up in the future.

ABOUT THE BOOK

ABOUT THE AUTHOR

Arriel Vinson is a Midwesterner who writes about being young, Black, and in search of freedom. Her debut YA novel-in-verse, Under the Neon Lights, is a 2026 Coretta Scott King/John Steptoe New Talent Award winner, a Reese’s Book Club LitUp selection, and a Junior Library Guild Gold Selection. Arriel earned her MFA in Fiction from Sarah Lawrence College and is a Tin House YA Scholar, Highlights Foundation scholarship recipient, and Walter Grant recipient. Her sophomore novel, If This World Were Mine, is forthcoming in spring 2027. You can connect with her on social media at @arriwrites and find her work at arriwrites.com

ABOUT THE CONVERSATION PARTNER

LIARA TAMANI grew up in Houston, Texas, where every spring meant one thing: rodeo season. She loved getting decked out in her best cowgirl gear and soaking up the music, food, and electric energy of the rodeo, a joy she now shares with her daughter and husband. Her deep Texas roots shine through her storytelling, capturing the spirit and rhythms of the state in all her acclaimed novels: Calling My Name, All the Things We Never Knew, and What She Missed. Before becoming a writer, she attended Harvard Law School and worked as a marketing coordinator for the Houston Rockets and Comets, television production assistant, home accessories designer, floral designer, and yoga and dance teacher. She holds an MFA in writing from Vermont College of Fine Arts and a BA from Duke University.

A landmark study of twentieth-century Black picture magazines and their impact on Black American life

From the late 1930s through the early 1970s, national publications such as Our World, Sepia, Color, Elegant, Flash, Brown, and Ebony framed emerging definitions of success for Black middle-class audiences. These magazines featured dynamic photo essays, sometimes by photographers as renowned as Gordon Parks and Moneta Sleet Jr., that shaped perspectives on Black cultural life and influenced the way millions of Americans understood the world through photography.

This history of Black picture magazines and their contribution to American photography, journalism, and cultural production is the first to consider these publications through a visual and scholarly lens. It features more than 250 illustrations, essays by prominent curators and thinkers, and thematic contributions by celebrity experts, including

• Tina Beyoncé Knowles, businesswoman and House of Deréon fashion designer, on beauty culture
• Doug Glanville, sports journalist and former MLB player, on sports
• Carla J. Williams, photographer and 2025 Guggenheim fellow, on pulp pinups
• Jason Moran, jazz musician and MacArthur “genius” award-winner, on music
• TAYLOR ALXNDR, activist and performer, on drag and queer/trans representation

With a comprehensive list of Black picture magazines and the photographers whose work appeared in them, this volume will serve as both a foundational reference and a compelling visual history that reveals the profound role these publications played in defining and circulating images of Black life, achievement, and aspiration in the United States.

Published in association with the Museum of Fine Arts, Houston

Exhibition Schedule:

Museum of Fine Arts, Houston
(February 28 to May 31, 2027)

Portland Museum of Art, Maine
(October 8, 2027, to January 9, 2028)

New Orleans Museum of Art
(May 11 to August 6, 2028)

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