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In this spicy new rom-com, an ambitious entrepreneur working to get her speakeasy supper club off the ground is pushed off balance when her childhood crush turns up, hotter than ever––then tells her she's off-limits.

Now that Kendra’s returned home, she can’t help feeling like a kid again—back in her big brother’s shadow, trying to get her restaurant off the ground while his new venture is flying high right out the gate. It doesn’t help that everyone refuses to stop calling her Keke, the childhood nickname she loathes.

The only bright spot is her longtime crush BJ. He’s been her big brother’s best friend for most of her life, and he’s always been that cool, chill guy who was easy to talk to and made her laugh. Now he’s looking at her like she’s all grown up, and there’s nothing childish about the chemistry brewing between them. Even better, he takes her dreams seriously, and he’s ready to help her make her supper club a reality.

But then BJ extinguishes the sparks flying between them, insisting nothing romantic can ever happen because she’s “off limits.” As her investors fall through and her best chance at fulfilling her professional dreams points toward leaving home again for a fresh start, will BJ be ready for love before Kendra moves on? Or will he sweep her off her feet when she least expects it?

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A poignant, unflinching study of black grief as a form of elegy found in visual art, music, literature—everywhere, if you know how to see it.

In Black Elegies, Kimberly Juanita Brown examines the form of the elegy and its unique capacity to convey the elongated grief borne of sustained racial violence. Structured around the sensorial, the book moves through sight, sound, and touch to reveal what Okwui Enwezor calls the “national emergency of black grief.” With her characteristic literary skill, Brown analyzes the work of major figures including Toni Morrison, Carrie Mae Weems, Audre Lorde, and Marvin Gaye, among others.

Brown contemplates recognizable sites of mourning: forced migration and enslavement, bodily violations, imprisonment and death. And she examines sites that do not register immediately as archives of grief: the landscape of southern U.S. slave plantations, a spontaneous street party, a quilt constructed out of the clothing worn by a loved one, a dance performance to hold the memory of history, and an aeolian harp installed at an institute of European art, among others. In this, the book offers a framework of mourning while black, within the parameters of contemporary artistic production. Brown asks: How do you mourn those you are not supposed to see? And where does the grief go? She shows us that grief is everywhere: “It spills out of photographs and modulates music. It hovers in the tenor and tone of cinematic performances. It resides in the body like an inspired concept, waiting for its articulation.”

PRE-ORDER: ON SALE DATE: February 10, 2025

This gorgeous debut follows a young transsexual’s feverish passage through the envies and dreams that lace her initiation into New York City’s underground nightlife as she attempts to reconcile its predatory yet deeply salvational euphorias.

She moves to New York for whatever reasons. Then she starts hormones and steps out at night. Everything else falls away. How had it never not been this?

Quickly, Io—freshly feminized and hardly clothed—is yanked into the glamor and vagaries of her times by her obsessive parasocial relationship with a fellow trans woman and renowned DJ. In nightlife she quickly discovers the stakes of living so close to cultural production—fashion, art, literature, it all flashes and dies as her bank account stays empty and her health waxes and wanes.

The lines between transition and cultural capital begin to blur and the currency of femininity demands to sell or be sold. Io must decide how far she will go to attain the dreams of upward mobility free-wheeling through the cloaca of the City.

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A dangerous cult craves a dark power. The Legacy of Arniston House is the spellbinding fourth instalment of the USA Today bestselling Edinburgh Nights series by T. L. Huchu

Ropa Moyo is a wannabe magician, can speak to the dead, and has officially given up being an intern. Leaving Scottish magic behind, she now works for the English Sorcerer Royal. But just as she adjusts to working for the English, an old enemy reveals a devastating secret about her Gran, and Ropa’s world falls apart.

Outraged, she rushes home, but finds her grandmother dead – murdered – with no killer in sight. What’s more, she’s the prime suspect. In her quest to find the true murderer, Ropa becomes caught in the dark tendrils of a cult, hell-bent on resurrecting an ancient power. Ropa must use her wits, her magic, and call in all favors to stop the ritual – and clear her name.

Edinburgh Nights series:
The Library of the Dead
Our Lady of Mysterious Ailments
The Mystery at Dunvegan Castle
The Legacy of Arniston House

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"Do You Take This Man has one of the steamiest, most addictive, most satisfyingly hard-earned happily-ever-after I’ve read in ages!"—Ali Hazelwood, New York Times bestselling author of Love on the Brain

A wedding officiant who doesn't believe in love and an event planner who's been burned agree to say "I do" to being enemies with benefits.

Divorce attorney RJ would never describe herself as romantic. But when she ends up officiating an unplanned wedding for a newly engaged couple in a park, her life is turned upside down. The video of the ceremony goes viral, and she finds herself in the unlikely position of being a sought-after local wedding officiant. Spending her free time overseeing “I dos” isn’t her most strategic career move, but she enjoys it, except for the type A dude-bro wedding planner she’s forced to work with.
 
Former pro-football event manager Lear is a people person, but after his longtime girlfriend betrayed him, he isn’t looking for love. He knows how to execute events and likes being in control, so working with an opinionated and inflexible officiant who can’t stand him is not high on his list. He’s never had trouble winning people over, but RJ seems immune to his charms.
 
Surrounded by love at every turn, their physical attraction pulls them together despite their best efforts to stay an arm’s length apart. Lear refuses to get hurt again. RJ refuses to let herself be vulnerable to anyone. But when it comes to happily ever after, their clients might not be the only ones saying “I do.”

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In this gripping thriller from the bestselling authors of Spare Room and Say Her Name, one woman’s mysterious death has led to a lifetime of pain. Can her daughter find out why?

“A compelling psychological mystery that will keep you guessing.” ―Woman’s Weekly

Lawyer Gabby Lewis always knew she would die young. Since her mother’s death twenty-five years ago, she’s dreaded her upcoming fortieth birthday, the same age her mother died.

When she discovers a connection between her mother and a suspicious mansion house, Ocean Haven, Gabby begins to suspect that her mother’s death wasn’t an accident, it was murder.

Returning home Gabby sets out to uncover the truth despite her family, friends and the local police all telling her to stop. When she starts to develop the same mysterious symptoms that led to her mother’s death, she is certain she’s on the right track. But will she be able to catch the killer in time? Or will she become another victim of a murderer desperate to keep the past buried?

Praise for Say Her Name

“My book of the year so far.” ―Lee Child

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Through paintings, sculptures, drawings and more, John Wilson's work foregrounds the human experience and refuses invisibility

American artist John Wilson was not only a master draftsman, printmaker, painter and sculptor active for over seven decades, but he was also a keen observer and social activist. In his representations of Black Americans in particular, he sought to pay homage to the beauty and truths of ordinary Black people in such a way that all viewers, across race and culture, might see themselves reflected. His multidisciplinary works include unflinching representations of racial violence and war, tender family portraits, monumental bronze heads and landmark commissions such as the bust of Martin Luther King, Jr., which stands in the United States Capitol.
The first major retrospective of the artist’s work, Witnessing Humanity sheds light on Wilson’s life and artistic evolution. Reproductions of artworks and photographs accompany critical essays and personal reflections, including analyses by art historians, interviews with Wilson’s peers, remembrances from fellow Black creatives and a full chronology by the late artist’s gallerist. The varied voices which resonate through this catalog illustrate that it is long past time to recognize Wilson’s art―to celebrate his lifelong dedication to depicting what he described as the "reality of being Black in this impossible world."
John Woodrow Wilson (1922–2015) was born in Roxbury, Massachusetts, and studied at the School of the Museum of Fine Arts, Boston, and Tufts University. He lived in Mexico for five years and became a friend and colleague of artist Elizabeth Catlett. Wilson taught fine art at Boston University from 1964 until 1986.

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A brutal homicide sets an ex-cop and his former partner on the hunt for an enigmatic killer in a gripping thriller by the author of Under Color of Law.

When former detective Trevor “Finn” Finnegan became a PI, he adopted a new mandate: catch the LAPD’s worst in the act. While on surveillance in Venice Beach, Finn tails two potentially dirty cops: Detective Martin Riley and Finn’s ex-partner, Detective Sally Munoz. Things take a deadly turn when an unknown assailant executes Riley and wounds Munoz. In an instant, Finn goes from private eye to eyewitness.

Munoz needs Finn to help find Riley’s killer, but doing so could blow his cover. She’s an officer shaded by rumors. Maybe she’s still a good cop―but maybe she’s not. Finn’s reluctance ends when his dear “uncle,” an ex-LAPD detective, is murdered, and it might be connected to Riley’s death.

To prevent more bloodshed and avoid becoming the next targets on the killer’s list, Finn and Munoz will have to bury their complicated past, trust each other, and come face-to-face with painful secrets that could destroy them both.

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Artist and filmmaker Steve McQueen continues his exploration of colonial history and its legacies in this new book comprised of meditative photographs of Grenada’s flora. Taken on a trip to the island in the summer of 2024, these images reckon with the connections between landscape and historical trauma, studying Grenada’s plant life as permanent markers of beauty in a land ravaged by exploitation. Rendered in vivid colour, the images reflect the complex interlocking of history, heritage, and survival contained in the simplicity of the island flora. Taking as his touchpoint the late Saint Lucian poet Derek Walcott’s elegy to his mother, ‘The Bounty’, McQueen’s project adopts a similarly poetic sensibility, attuned to the resilience of the island’s landscape and the dualities of the word ‘bounty’, which alludes to both the generosity of nature and the sum paid to slave catchers. Grounded in a deep reverence for the sublime natural world, Bounty invites a visceral engagement with the silent endurance of nature despite the grim realities of human history.

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The first major publication on Baltimore-based painter Jerrell Gibbs, whose contemplative portraits of Black sitters thrum with a vivid sense of place and reflect the complexity and emotional depth of everyday Black life.

This book captures a prolific period of self-examination and observation for contemporary artist Jerrell Gibbs (b. 1988). Known for his luminously rendered, expressionistic oil paintings, Gibbs uses the figure as a dynamic and recurring motif to explore themes of Black masculinity, fatherhood, legacy, and remembrance.

Drawing from archival family photographs, Gibbs emphasizes placement, size, and proportion, blending intimate mark-making with bold painterly gestures. By complicating and subverting visual stereotypes, Gibbs engages deeply with the materiality of painting, offering tender, emotionally evocative portrayals of Black men as husbands, fathers, brothers, and sons. These allegorical and autobiographical works underscore quiet moments of joy, sorrow, and beauty as vital components of Black life. Additionally, commissioned portraits of such figures as Elijah Cummings and August Wilson are juxtaposed with allegorical figures from Gibbs’s dreams, reflecting his growth as an artist and individual. Gibbs’s work offers a fresh approach to painting the human form, following in the footsteps of other Black figurative painters Kerry James Marshall, Henry Taylor, and Amy Sherald.