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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.”

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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 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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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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A richly illustrated account tracing the full arc of contemporary painter Suzanne Jackson’s life and multifaceted artistic vision

First and foremost a painter, Suzanne Jackson has worked for six decades in a dizzying array of genres, including drawing, printmaking, poetry, dance, and theater design. Suzanne Jackson: What Is Love reveals Jackson’s achievements as a leading and influential artist who has been in dialogue with her contemporaries, from Betye Saar and Emory Douglas to Senga Nengudi and Mary Lovelace O’Neal.

This wide-ranging book illuminates Jackson’s work and its connections to nature, environmentalism, performance, feminism, and Black and Native traditions. It explores the way her innovative hanging acrylic works break the canvas; the role of dance and set design in Jackson’s practice; and her trailblazing Los Angeles art space Gallery 32, which she ran from 1968 to 1970, and which became a focus for a circle of fellow emerging artists. The book also features artist dialogues between Jackson and Nengudi, Saar, Fred Eversley, and Richard Mayhew, as well as a conversation between Jackson and SFMOMA painting conservator Jennifer Hickey.

Exhibition Schedule
SFMOMA, San Francisco
September 27, 2025–March 1, 2026

Walker Art Center, Minneapolis
May 14, 2026–August 23, 2026

Museum of Fine Arts, Boston
September 26, 2026–February 7, 2027

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Sheriff “Big Bert” Tubb once cleaned up Craw County, Alabama with an iron jaw and a big ol’ stick. But that was 40 years ago. When his son, Earl Tubb, returns home to settle some family business, he finds his daddy’s grave unkempt, the stick he was buried with grown into a gnarled old tree, and Craw County in worse shape than ever. Then that tree gets struck by lightning. And suddenly Earl has a stick of his own. And some questions he’d like answered.
* The hit new crime series, Southern Bastards, returns for its second volume, as Jason Aaron (Scalped, Thor, Star Wars) and Jason Latour (Wolverine & the X-Men, Loose Ends) pull back the curtain on the dark and seedy history of Craw County and its most famous and feared resident, the high school football coach turned backwoods crime lord, Euless Boss. In a place where only bastards flourish, what does it take to be the biggest, meanest, most powerful bastard of them all? Only Coach Boss knows. But if I was you, I wouldn't ask him.
* Collects Southern Bastards #5-8.

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Penguin announces a prestigious new series under presiding editor Arthur Schlesinger, Jr.

Many works of history deal with the journeys of blacks in bondage from Africa to the United States along the "middle passage," but there is also a rich and little examined history of African Americans traveling in the opposite direction. In Middle Passages, award-winning historian James T. Campbell vividly recounts more than two centuries of African American journeys to Africa, including the experiences of such extraordinary figures as Langston Hughes, W.E.B. DuBois, Richard Wright, Malcolm X, and Maya Angelou. A truly groundbreaking work, Middle Passages offers a unique perspective on African Americans' ever-evolving relationship with their ancestral homeland, as well as their complex, often painful relationship with the United States.

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From Christine Pride, the beloved coauthor of the Good Morning America Book Club Pick We Are Not Like Them, comes a dazzling solo debut novel about a woman who finds herself in the impossible situation of being in love with the same two men who won her heart in her early twenties again as she nears forty.

It’s 1999, TLC’s “No Scrubs” is topping the charts, y2k is looming on everyone’s mind, and Cora Belle has arrived at college ready to change her life. She’s determined to grow out of the shy, sheltered girl who attended an all-white prep in her all-white suburb. Cora is ready to conquer her fears and find her people, her place in the world, and herself.

What she’s totally unprepared for is Lincoln, with his dark skin, charming southern drawl, and that smile. Because how can you ever prepare yourself for the rollercoaster of first love with all its glorious, bewildering contradictions? Just when Cora thinks she’s got things figured out, a series of surprises and secrets threaten to upend everything she thought she understood about love and loyalty.

In the wake of these developments and a shocking tragedy, a new man enters Cora’s life—Aaron—further complicating everything. He’s the only one who seems to get her, and the letters she writes to him when the two are separated reveal the truth of their inescapable connection. There’s only one problem—how can she fall in love with one man when her heart belongs to another?

Twenty years later, and Cora is all grown up, or mostly, and has cloaked herself in loneliness like a warm blanket. It’s the safest choice. But then an unexpected reconnection and a chance encounter puts her right back where she started. The same two men, the same agonizing decision.

Finding herself in this position—again—will test everything Cora thought she knew about fate, love, and most importantly, herself. All The Men I’ve Loved Again is a big-hearted coming-of-age story for anyone who’s thought what if about a past love and what it would be like to have a second chance.

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As featured in The Wall Street Journal’s 2024 Holiday Gift Books: Fine Art

The definitive monograph of Sam Gilliam one of the great innovators in post-war American painting

An African American artist in the nation’s capital at the height of the Civil Rights movement, Sam Gilliam blazed a trail with his singular artistic vision. Gilliam emerged from the Washington, DC art scene in the mid 1960s with works that disrupted established artistic norms and styles.

Relentlessly experimental and inspired by the improvisatory ethos of jazz, Gilliam’s lyrical abstractions took on an increasing variety of forms, moods, and materials.

This book, made in close collaboration with the Sam Gilliam Foundation, is the first to comprehensively survey the breadth of his extraordinary career, and features never-before-seen archival materials an insightful newly commissioned texts that shine light on the artist, his life, and his work, together with examples of Gilliam's work spanning five decades.

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In this follow-up to Cultivating Genius, Dr. Gholdy Muhammad adds a fifth pursuit—joy—to her groundbreaking instructional model. She defines joy as more than celebration and happiness, but also as wellness, beauty, healing, and justice for oneself and across humanity. She shows how teaching from cultural and historical realities can enhance our efforts to cultivate identity, skills, intellect, criticality, and-indeed-joy for all students, giving them a powerful purpose to learn and contribute to the world. Dr. Muhammad's wise implementation advice is paired with model lessons and assessment tools that span subjects and grade levels.

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Long-listed for the Booker Prize

A radiant, intimate novel of the longing that blooms between two boys over the course of one summer―about family, desire, and what we inherit.

When his grandfather dies, Jay travels south with his family to the property they’ve inherited, a once-flourishing farm that has fallen into disrepair. The trees are diseased, the fields parched from months of drought.

Jay’s father, Jack, sends him out to work the land, or whatever land is left. Over the course of these hot, dense days, Jay finds himself drawn to Chuan, the son of the farm’s manager, different from him in every way except for one.

Out in the fields, and on the streets into town, the charge between the boys intensifies. Inside the house, the other family members begin to confront their own secrets and regrets. Jack is a professor at a struggling local college whose failures might have begun when he married his student, Sui Ching. Sui Ching does her best to keep the family together, though she too wonders what her life could have been. And Fong, the manager, refuses to look at what is: at Chuan, at the land, at the global forces that threaten to render his whole life obsolete.

At once sweeping and compressed, Tash Aw’s The South is a family novel of change and desire―a story of what happens when public and private lives collide, told with uncommon grace and beauty.

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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.