A galvanizing history of abortion recentering people of color to put forth a timely argument that we must liberate abortion for all.

People of color have been having abortions since the dawn of time, yet our access is continuously under attack. In Liberating Abortion, award-winning abortion activist Renee Bracey Sherman and journalist Regina Mahone illustrate the long racist history that brought us to this moment, uncover the hidden figures who set the foundation that activists and storytellers are building on today, and explain how abortion has been and remains essential to the health of our communities.

Liberating Abortion will take you back to the basics of sex education, detailing the traditions of abortion over centuries while examining how society makes us feel about our experiences. You’ll find rigorous research, never-before-heard stories, and eye-opening interviews with more than fifty people of color who’ve had abortions, including activists, actresses, television writers, politicians, and two Black members of Jane, the Chicago feminist service that provided abortions before Roe.

With poignant storytelling and precise analysis, Liberating Abortion will change how you think about abortion forever.

Camo, by photographer Thandiwe Muriu, is the first publication to chronicle the work of this international artist, celebrating the vibrant portraits she creates that combine cultural textiles and beauty ideologies. Muriu takes us on a colorful, reflective journey through her world as a woman living in modern Kenya as she reinterprets contemporary African portraiture. 

As the sole woman operating in the male-dominated advertising photography industry in Kenya, Thandiwe Muriu has repeatedly confronted questions around the role of women in society, the place of tradition, and her own self-perception. These experiences inspired her personal project of cultural reflection: the Camo series. Camo was the catalyst for her to push new boundaries in her photography, leading her into a deeply personal artistic journey.

The compelling, fully saturated photographs in this collection confront issues surrounding identity while seeking to redefine female empowerment through Muriu’s choice of materials. These constructed images are not digital manipulations but physical sets that incorporate African Ankara wax textiles as backdrops and custom-tailored clothing and headdresses. At the forefront of her practice is using textiles to make her subjects disappear and serve as a canvas for reflection on the question of identity and its evolution over time. Muriu also consistently reimagines common objects associated with the daily lives of Kenyans into bold accessories donned by her subjects. These objects range from hairpins to the mosquito-repellent coils she grew up using. In Kenya, an object can have multiple uses beyond its original purpose; as Muriu explains, “When you have little, you transform and reuse it.”

Throughout the book, each image is paired with an inspirational African proverb in both English and Swahili, expressing the collected wisdom of generations that continue to inspire. Proverbs such as "With a little seed of imagination, you can grow a field of hope" convey the uplifting spirit of Muriu's work that empowers women, preserves tradition, and celebrates African beauty and culture. 

A visually stunning art book and cultural touchstone, Camo is a collectible treasure as the first book to showcase the work of a rising star in the worlds of photography and art.

Joint winner of the James Berry Poetry Prize

In her wide-ranging debut collection, Clementine Ewokolo Burnley asks what remains after once-familiar places and people have gone. The poems criss-cross the Atlantic, beginning in the 1850s. The voices of Caribbean returnees to the west African coast mingle with those of west African recaptives, German missionaries, and kidnappers. They witness the changes in family life through the generations as villagers or townsfolk are uprooted or stay put or uproot themselves, defying expectations by leaving or returning.

Her poems address the past only to illuminate what people can become to each other in the present, whether in Africa or Europe. In one sequence a group of university students from far-flung parts discover the freedoms of student halls in Glasgow. In sequences set in the Hebrides old friends recognise a late-blooming love after decades apart. In other poems, a woman consults her scars. Each sight, sound or smell has its threat value in Germany, and children of mixed heritage switch between languages in Italy. Weary of searching outward, women drop anchor in themselves. A couple find grounding in the non-human world that surrounds them. Going back in search of belonging proves futile only because connection was there all along.

Clementine Ewokolo Burnley was one of three winners of the 2024 James Berry Poetry Prize, judged by Major Jackson, Neil Astley, Imtiaz Dharker, Theresa Muñoz and Nathalie Teitler. Launched in 2021, the James Berry Poetry Prize is Britain's first and only poetry prize offering both expert mentoring and book publication by Bloodaxe Books for young or emerging poets of colour.

Finally, the secret sauce of Noma is revealed—the long-anticipated follow-up to the bestselling The Noma Guide to Fermentation offers more than 150 recipes for infused oils, vinaigrettes, fudges, spice mixes, rubs, sauces, and other flavor-boosting condiments that professional and home cooks can now make and use to elevate every part of their cooking.

Nothing tastes like the food at Noma. Nothing is as delicious, as surprising, as unique. A big part of the reason why is found in the Noma pantry, the seasonings, condiments, sauces, and other flavor compounds developed over two decades by René Redzepi and the Noma test kitchen. And now 150 of these components that define the inimitable taste of Noma—including roasted kelp salt, smoked egg yolk sauce, Nordic pesto, and lacto-koji beurre blanc—are shared in The Noma Guide to Building Flavour. Most of the recipes are illustrated with step-by-step photo sequences detailing the techniques needed to transform surprisingly familiar ingredients into elements of Noma’s distinctive cuisine. Noma uses these recipes to create elevated preparations for the restaurant (a selection of gorgeous plated-dish photos are included), but readers—whether professionals or avid home cooks—will find plenty of inspiration for their own kitchens, aided by do-able suggestions from Noma chefs.
 
In conversational essays and anecdotes woven throughout the book, Redzepi shares how staff members from around the globe have influenced Noma’s flavor palette, and how Noma chefs take pristine seasonal ingredients and blend, grind, dry, smoke, macerate, reduce and otherwise elicit the most potent and desirable flavors that make up the sensory language of Noma. Between the narrative portions and the meticulous recipes, chefs and home cooks alike will discover new dimensions of flavor and expand their ideas of what food can be.

"The most potent weapon in the hands of the oppressor is the mind of the oppressed." Like all of Steve Biko's writings, those words testify to the passion, courage, and keen insight that made him one of the most powerful figures in South Africa's struggle against apartheid. They also reflect his conviction that black people in South Africa could not be liberated until they united to break their chains of servitude, a key tenet of the Black Consciousness movement that he helped found.

I Write What I Like contains a selection of Biko's writings from 1969, when he became the president of the South African Students' Organization, to 1972, when he was prohibited from publishing. The collection also includes a preface by Archbishop Desmond Tutu; an introduction by Malusi and Thoko Mpumlwana, who were both involved with Biko in the Black Consciousness movement; a memoir of Biko by Father Aelred Stubbs, his longtime pastor and friend; and a new foreword by Professor Lewis Gordon.

Biko's writings will inspire and educate anyone concerned with issues of racism, postcolonialism, and black nationalism.

Winner: Native American and Indigenous Studies Association's Best Subsequent Book 2017
Honorable Mention: Labriola Center American Indian National Book Award 2017

Across North America, Indigenous acts of resistance have in recent years opposed the removal of federal protections for forests and waterways in Indigenous lands, halted the expansion of tar sands extraction and the pipeline construction at Standing Rock, and demanded justice for murdered and missing Indigenous women. In As We Have Always Done, Leanne Betasamosake Simpson locates Indigenous political resurgence as a practice rooted in uniquely Indigenous theorizing, writing, organizing, and thinking.

Indigenous resistance is a radical rejection of contemporary colonialism focused around the refusal of the dispossession of both Indigenous bodies and land. Simpson makes clear that its goal can no longer be cultural resurgence as a mechanism for inclusion in a multicultural mosaic. Instead, she calls for unapologetic, place-based Indigenous alternatives to the destructive logics of the settler colonial state, including heteropatriarchy, white supremacy, and capitalist exploitation.

New York Times-bestselling author adrienne maree brown knows we need each other more than ever, and offers “loving corrections”: a roadmap towards collective power, righting wrongs, and true belonging 

This selection of prescient, compassionate essays explores patterns we engage in that are rooted in limited thinking. Through a lens of “loving correction” rather than mere critique, author adrienne maree brown helps us reimagine how to hold ourselves, our loved ones, and our communities accountable by setting clear boundaries, engaging in reflection, and nurturing honest relationships.

Loving Corrections is divided into two sections, with the first portion featuring new essays including “A Word for White People” and “Relinquishing the Patriarchy” and writing on topics like moving from fragility to fortitude, disability, and navigating critique within activist communities. The second section expands and updates pieces from brown's popular monthly column “Murmurations” in YES! Magazine that explore accountability—within oneself and community—with depth, inventiveness, and empathy.

Along with allowing us more authentic access to ourselves and to each other, the “corrections” in the book’s title are intended to explore and break identity-based patterns including white supremacy, fragility, patriarchy, and ableism. brown also offers practical guidance on how to apologize and be accountable from our nuanced positions of power, history, and resources.

Building on her previous work—especially Holding Change and We Will Not Cancel Us—brown reminds us how much we need each other: "It is only through relationship that we learn how to be, understand our impact on others and explore small shifts that may yield remarkable collective change."

“Organizing is both science and art. It is thinking through a vision, a strategy, and then figuring out who your targets are, always being concerned about power, always being concerned about how you’re going to actually build power in order to be able to push your issues, in order to be able to get the target to actually move in the way that you want to.”

*Use discount code: SALE at check out for 30% off*

“Twitty makes the case that Blackness and Judaism coexist in beautiful harmony, and this is manifested in the foods and traditions from both cultures that Black Jews incorporate into their daily lives…Twitty wishes to start a conversation where people celebrate their differences and embrace commonalities. By drawing on personal narratives, his own and others’, and exploring different cultures, Twitty’s book offers important insight into the journeys of Black Jews.”—Library Journal

“A fascinating, cross-cultural smorgasbord grounded in the deep emotional role food plays in two influential American communities.”—Booklist

The James Beard award-winning author of the acclaimed The Cooking Gene explores the cultural crossroads of Jewish and African diaspora cuisine and issues of memory, identity, and food.

In Koshersoul, Michael W. Twitty considers the marriage of two of the most distinctive culinary cultures in the world today: the foods and traditions of the African Atlantic and the global Jewish diaspora. To Twitty, the creation of African-Jewish cooking is a conversation of migrations and a dialogue of diasporas offering a rich background for inventive recipes and the people who create them. 

The question that most intrigues him is not just who makes the food, but how the food makes the people. Jews of Color are not outliers, Twitty contends, but significant and meaningful cultural creators in both Black and Jewish civilizations. Koshersoul also explores how food has shaped the journeys of numerous cooks, including Twitty’s own passage to and within Judaism.

As intimate, thought-provoking, and profound as The Cooking Gene, this remarkable book teases the senses as it offers sustenance for the soul.

Koshersoul includes 48-50 recipes.

"Informative and full of big flavors, this is a delicious and accessible introduction to Caribbean food for novices; will be a welcome addition to library shelves." —Library Journal

Through 80+ recipes, Code Noir tells the interesting and complex story of Caribbean cuisines that are not only incredibly rich in flavor but also in history.

Code Noir is a cookbook steeped in history. Not just because of the title, which hits on a seventeenth-century decree in which King Louis XIV recorded how enslaved Africans in the French colonies were to be treated, but also because it deals with the food and the people that, through the gruesome course of history, came together in the Caribbean.

Inside, chef and culinary activist Lelani Lewis goes back to her Caribbean roots with classics like jerk chicken, salted cod fritters, pepperpot stew, and Guinness punch. She also shares new creations with typically Caribbean ingredients like cassava, corn, coconut, lime, plantain, and chilies: plantain with peanut and lime salsa, sweet potato gratin with ginger cream, and crème anglaise of creamed corn and caramelized guava.

In this new edition of Nkrumah and the Ghana Revolution, C. L. R. James tells the history of the socialist revolution led by Kwame Nkrumah, the first president and prime minister of Ghana. Although James wrote it in the immediate post-independence period around 1958, he did not publish it until nearly twenty years later, when he added a series of his own letters, speeches, and articles from the 1960s. Although Nkrumah led the revolution, James emphasizes that it was a popular mass movement fundamentally realized by the actions of everyday Ghanaians. Moreover, James shows that Ghana’s independence movement was an exceptional moment in global revolutionary history: it moved revolutionary activity to the African continent and employed new tactics not seen in previous revolutions. Featuring a new introduction by Leslie James, an unpublished draft of C. L. R. James's introduction to the 1977 edition, and correspondence, this definitive edition of Nkrumah and the Ghana Revolution offers a revised understanding of Africa’s shaping of freedom movements and insight into the possibilities for decolonial futures.

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.