In this middle-grade graphic novel debut by Gonzalo Alvarez, the fate of Aztlan, the mythical homeland of the Aztec people, rests on one boy’s shoulders.

Emanuel is a chicken. He’d rather play with his canicas than stand up to bullies. Even the characters in his abuelita’s folk stories scare him. So imagine his surprise when one of those characters, El Raton, appears in his bedroom one night to steal his canicas and drag him through a portal into Aztlan, home to the ancient Aztecs.

Thankfully, Emanuel is rescued by a shapeshifter named Chiko, who introduces him to this magical land, where fabled monsters of his childhood run amok. It’s not before long Emanuel discovers he is the Sun Warrior, wielder of the Sun Stone, protector of Aztlan. Only he can put an end to El Raton’s reign and free the people of Aztlan from his terror.

Can Emanuel find the courage to embrace his newfound power, save the people of Aztlan and find his way home? Or will he become just another one of Abuelita’s folk tales?

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)

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.

An eloquent, prize-winning historian chronicles the rise of Black enterprise in America.

Entrepreneurs like Booker T. Washington and Madam C.J. Walker are familiar figures in the history of Black business. But from the hopeful dawn of emancipation to the crucible of Jim Crow, from rural Mound Bayou, Mississippi, to the bustling blocks of Harlem, many others built extraordinary businesses in pursuit of prosperity and freedom. Nevertheless, their efforts to pursue the American Dream were steadily undermined by people intent on profiting on their innovations and reining in their opportunities. Award-winning historian Shennette Garrett-Scott reveals the everyday genius of the people who refused to accept exclusion as identity: former slaves turned cotton mill owners, washerwomen turned financiers, and self-taught visionaries who built banks, real estate empires, and grocery store chains. Their successes were real, but ventures that promised economic independence often provoked backlash as white elites, politicians, and vigilantes tried to contain Black success. Even the boldest dreams often buckled under the combined weight of limited resources and state obstruction.

A daring tale, lyrically told, The Business of Freedom reveals the history, strengths, and weaknesses of Black capitalism as a strategy for both individual and collective empowerment and shows why free enterprise alone could never deliver the freedom its champions promised.

26 illustrations

From the PEN-nominated author of The Blueprint comes a moving novel about two women connected by music, memory—and murder.

Texas, 1983. Lola Jones is in prison for the death of her mother’s former lover, a man whose presence tangled itself through both their lives. After years of silence, Lola writes a letter to the dead man’s daughter—the “secret sister” from the better part of town in whose shadow Lola has lived most of her life.

As Lola reaches across time and memory, her story unfolds in two mirrored movements: the first, a chronicle of her mother, Camille, a blues singer shaped by love, ambition, and loss; the second, a recounting of Lola’s own coming of age in the echo of Camille’s legacy.

Braided with music, memory, and the weight of being misunderstood, Sweet Water explores inheritance, identity, and the ways women learn to survive what they cannot control. It is a story about Black women connected and separated by their experiences with each other, and with the men in their lives. Written as a letter, structured like a blues song—call and response, verse and refrain—the novel asks what it means to reclaim your voice when someone else’s pain has defined your existence.

A gripping historical novel about two mothers, still reeling from the loss of a beloved soldier, whose opposing views on an impending Gold Star pilgrimage ignite personal journeys of their own.

Bound by grief, two women must choose how much they will sacrifice for one last goodbye.

It's 1933, and thousands of American mothers have already crossed the ocean to France to visit the graves of their sons lost during the Great War. Yet for Black Gold Star Mothers and Widows, this government-sponsored pilgrimage is an insult. As the final group of mourners prepare to sail cross the Atlantic—with white women aboard luxury liners and Black women relegated to cargo ships—many must decide if the long, segregated journey is worth the unfair treatment.

One widow wants to remember...

Thelma Hayes just wants to see her husband again—or at the very least, his final resting place. Widowed only a year after marrying the love of her life, she longs to give her fourteen-year-old son something he’s never had: a connection to the father he never knew. When an unexpected opportunity places France within reach, Thelma is willing to sacrifice almost anything to make the journey.

One mother refuses to forget...

Charlotte Hayes has already lost too much. After surviving the murder of her husband, the destruction of her home, and the death of her only son, she refuses to surrender one more piece of herself. Standing firm against the segregated pilgrimage to France, Charlotte vows not to accept anything less than equal acknowledgment of her son’s sacrifice.

Bound together by the man they both lost—and divided by how to best honor his memory—these two grieving women must decide what matters more: demanding dignity—or getting to say goodbye one last time.

Inspired by the true story of the segregated Gold Star Mothers Pilgrimage, THE COLOR OF SACRIFICE is a gripping historical novel about love, loss, reconciliation, and the painful cost of war.

A globe-spanning jigsaw puzzle of a novel about what it is to be human during this nervous, catastrophic moment in time.

Dionne Brand’s brief, powerful small life has the dazzling, hypnotic rhythm of a series of waves, tossing together multiple narrators and stories in time and space. The novel works through affective momentum, through gathering velocity, through multiplying and quickening voices and stories. None of these vividly alive characters know one another, but all exist inside this nervous moment in time.

Throughout the novel, characters’ voices recur in random ways, each around their own “small life.” Each person is in the middle of an action or a demand or a situation or a misunderstanding, and each is attempting to find a life, to know a life, to navigate the precarity of life. These lives are unfolding anywhere in the world: leaving the outskirts of Cartagena, working the streets of Madrid, caught in a toxic flood, hanging on to the edge of a boat in the Mediterranean, cleaning a stall in a North American airport, setting off to work on an oil platform, refusing eviction from an apartment. Their stories build and braid through inference, familiarity, and emotion―shock, realization, small joy―offering glimpses of the innermost workings of human beings in our contemporary, catastrophic zeitgeist.

A bold and singularly funny novel about a young Ethiopian American woman whose twenty-first-century life collides spectacularly with Ethiopian legends that she knows can’t possibly be real, and yet...

“Remember when we were children The storyteller would shout, Teret teret, meaning a tale, a tale, and we would yell back Yelam beret! We didn’t know this meant a cow’s house, just that it rhymed. And then the story would begin.”

Belaynesh Tessema, an Ethiopian American journalist working at the independent travel magazine aptly named Trivial Pursuits, isn’t exactly pleased when her overbearing boss insists she travel to Washington, DC, to cover a story about a newly incorporated, all-Ethiopian town. When she starts packing to leave, things start to get…strange. First, there are the huge lapses in Belaynesh’s memory and sense of place and time. Perhaps more alarming, she realizes that every morning when she wakes up, she begins the same day again: September 10, 2007, which also happens to be the last day of the Ethiopian calendar year. Or, more to the point, the day before the world is set to end.

Enter Teret, a talking parrot who reveals an ambitious plan to un-stick time, sending him and Belaynesh deep into the world of Ethiopian mythology. At its center is the star of the apocryphal Book of Enoch, the mysterious Henok, who’s none too happy at the many ways Belaynesh’s arrival on this strange, surreal scene has disrupted the book he’s dedicated his life to composing. As Belaynesh and Teret dodge contemporary reinventions of the book’s grandest flourishes, from fallen angels to time traveling giants, and even Henok himself, Belaynesh learns that sometimes moving forward requires looking back.

Irreverently funny and wildly inventive, Teret Teret is modern magical realism at its best. It blends some of Ethiopia’s oldest stories with a heroine for our current moment, for a mold-breaking, epic tale about identity, love, and writing new stories when the old ones don’t serve us anymore.

The iconic NAACP magazine’s most dynamic and daring African American voices gathered together for the first time in a groundbreaking literary collection, from founding editor W. E. B. DuBois and Jessie Fauset to today's modern day cultural critics, including June Shagaloff and Michael A. Lawrence.

The Crisis magazine is the official publication of NAACP. It was created in 1910 by renowned historian, civil rights activist, and NAACP co-founder W. E. B. DuBois. The magazine appeared three years before Conde Nast launched an American version of Vanity Fair and fifteen years before Harold W. Ross introduced The New Yorker to readers.

Du Bois started The Crisis in one room of the New York Evening Post building in New York City and edited the publication until 1934. A group of NAACP leaders adapted the name from James Russell Lowell's poem The Present Crisis, written at the height of the Civil War.

In the premier issue Du Bois made clear of the publication’s goals: "The Crisis will record important happenings and movements in the world which bear on the great problem of inter-racial relations, and especially those which affect the Negro-American. Secondly, it will be a review of opinion and literature, recording briefly books, articles, and important expressions of opinion in the white and colored press on the race problem. Thirdly, it will publish a few short articles. Finally, its editorial page will stand for the rights of men, irrespective of color or race, for the highest ideals of American democracy."

At the time, Du Bois noted, "it was the rule of most white papers never to publish a picture of a colored person except as a criminal and the colored papers published mostly pictures of celebrities who sometimes paid for the honor. In general, the Negro race was just a little afraid to see itself in plain ink." Everything changed with the advent of The Crisis.

Now, for the first time ever The Best of the Crisis will bring together the magazine’s previously published most dynamic and daring voices and stories from its founding until today in one extraordinary collection, including W. E. B. Du Bois, Thurgood Marshall, Bayard Rustin, Francis Grimke, J.A. Rogers, Stetson Kennedy, E. Franklin Frazier, Oswald Garrison Villard, Jessie Fauset and Arna Bontemps.

This edition will spotlight the first section devoted to Negro children, the first presentation of Negro artwork, the first feature stories about successful Negroes, the first full-fledged drive for Pan-Africanism, the first special numbers devoted to Negro educational advancement, the first articles on consumers cooperation all tied together with contemporary voices on where we stand on these issues today.

Written by an engineer who has worked for the FBI and the White House, this STEMinist picture book biography tells the story of Bessie Blount, a groundbreaking Black inventor.

What do you do when people tell you no? This is a true story of what happens when you tell yourself yes!

When a teacher said she couldn’t write with her left hand, Bessie taught herself to be right-handed. At a time when many people were unfairly denied more education, Bessie studied hard and became a nurse and physical therapist. And when her patients—injured World War II soldiers—couldn’t feed themselves, Bessie invented a device to assist them. Bessie‘s determination allowed her to help others in so many ways.

From celebrated STEMinist (STEM-feminist) Afua Bruce and award-winning artist Laura Freeman comes the inspiring true story of the extraordinary Bessie Blount.

* A trailblazing inventor who overcame oppression to succeed
* Informational back matter, including a timeline, author’s note, and guide to inventing
* Inspiring true story for fans of Maya’s Song, Ketanji, and Because Claudette

NBC News Senior White House Correspondent Gabe Gutierrez offers a forceful, necessary exposé on the precarious realities and politics of modern Puerto Rico, detailing the decade of financial exploitation, federal negligence, and American ambivalence that pushed the most populous US territory to the brink and examining what must be done to insure the island’s survival.

For decades Puerto Rico has been on its own. Criminally underfunded and largely forgotten by the US government, the island has pivoted between financial and natural disasters, struggling without Congressional representation. While Hurricane Maria exposed the federal government’s ineptitude and apathy to aid Puerto Rico in its time of greatest need, the storm also laid bare a systemic crisis that had been building for years—a slow-motion train wreck of American neglect, institutional exploitation, and financial ruin with profound human consequences.

Now veteran NBC News reporter and senior White House correspondent Gabe Gutierrez, who has covered the island’s storms and its people for years, tells the urgent story of how Puerto Rico came to this precarious moment in its history, uncovering how decades of failed US policies have culminated in the tumultuous last ten years. Whether it’s the US hedge funds who leveraged the island into bankruptcy, or the federal bureaucracy that has robbed the island of the autonomy to shape its own destiny, the mismanagement of Puerto Rico has stretched across the island’s governorships, as well as US presidential administrations and political parties.

With each passing year, this negligence comes at a steeper price to US taxpayers, but more importantly to those who live there. Through moving portraits of the people working to preserve Puerto Rico for future generations, Gutierrez demonstrates the human cost of the recent turmoil that has left everyday Puerto Ricans with few good options and reinvigorated the island’s independence movement as they seek a viable future for their home.

What emerges is an eye-opening narrative of American ambivalence about an island so deeply tied to our uncomfortable, imperial past. A seasoned journalist’s ambitious examination of what it takes to change American institutions, The Island shows how our failure to care adequately for Puerto Rico is a failure to reckon with our own history.

A girl's big sister’s Quinceañera is just cinco days away. They need to find a vestido, pick out a tiara, style the flores. . . . There’s so much to do! How can a little sister help?

With vibrant art and heartfelt bilingual storytelling, Five Days ‘til Quince shares a young girl’s experience counting down the days until her big sister's 15th birthday party, and the many preparations that go into making the day extra special – including something only a little sister can provide: courage.

Backmatter includes an author's note, a glossary of terms in English and Spanish, and an introduction to the quinceañera tradition!