After several years of silence and seclusion in Beetlecreek's black quarter, a carnival worker named Bill Trapp befriends Johnny Johnson, a Pittsburgh teenager living with relatives in Beetlecreek. Bill is white. Johnny is black. Both are searching for acceptance, something that will give meaning to their lives. Bill tries to find it through good will in the community. Johnny finds it in the Nightriders, a local gang. David Diggs, the boy's dispirited uncle, aspires to be an artist but has to settle for sign painting. David and Johnny's new friendship with Bill kindles hope that their lives will get better. David's marriage has failed; his wife's shallow faith serves as her outlet from racial and financial oppression. David's unhappy routine is broken by Edith Johnson's return to Beetlecreek, but this relationship will be no better than his loveless marriage. Bill's attempts to unify black and white children with a community picnic is a disaster. A rumor scapegoats him as a child molester, and Beetlecreek is titillated by the imagined crimes.

This novel portraying race relations in a remote West Virginia town has been termed an existential classic. It would be hard, said The New Yorker, to give Mr. Demby too much praise for the skill with which he has maneuvered the relationships in this book. During the 1960s Arna Bontemps wrote, "Demby's troubled townsfolk of the West Virginia mining region foreshadow present dilemmas. The pressing and resisting social forces in this season of our discontent and the fatal paralysis of those of us unable or unwilling to act are clearly anticipated with the dependable second sight of a true artist."

First published in 1950, Beetlecreek stands as a moving condemnation of provincialism and fundamentalism. Both a critique of racial hypocrisy and a new direction for the African-American novel, it occupies fresh territory that is neither the ghetto realism of Richard Wright nor the ironic modernism of Ralph Ellison. Even after fifty years, more or less, William Demby said in 1998, "It still seems to me that Beetlecreek is about the absence of symmetry in human affairs, the imperfectibility of justice the tragic inevitability of mankind's inhumanity to mankind."

William Demby is the author of The Catacombs and Love Black. He lives in Sag Harbor, N. Y. James C. Hall, a professor of African-American Studies and English at the University of Illinois, Chicago, is the author of the forthcoming book, Mercy, Mercy, African-American Culture and the American Sixties, and editor of Langston A Collection of Poems.

A gripping and genre-defying novel by a rediscovered great of twentieth-century Black American writing, about what it means to be a writer at the dawn of a new era

First published in 1965, The Catacombs is a metafictional account set in early 1960s Rome, where the author had returned to study art history after serving on the Italian front during World War II.

African-American expatriate Bill Demby narrates his attempts to write a novel about his friend Doris, who is living in Rome and employed as one of Elizabeth Taylor's handmaidens in the filming of Cleopatra. Utterly dependent upon Doris for the development of his novel, he is both a participant in and observer of her life as she enters into an affair with an Italian count. Bill Demby's growing emotional and artistic involvement in the tumultuous affair of his character-friend leads him on an existential quest for the meaning of truth and fiction, both lived and created, in a world torn by the social upheaval of the early sixties.

Interrupted constantly by headlines from television and newspapers, slipping in and out of fiction and metafiction, The Catacombs is a time capsule from an era on the brink and a novel unlike any other.

This "thoroughly engaging" third novel by the author of Beetlecreek ("[a] quiet masterpiece" —Kirkus Reviews) follows a Black journalist in the 1970s whose bourgeois life is turned upside down by the subject of his writing assignment.

In the midst of the tumultuous 1970s, Edwards, a freelance writer and Black Studies professor at a small college in New York City, is assigned a story for New Black Woman magazine: a profile of Mona Pariss, an aging former singer whose popularity once rivaled Josephine Baker’s. With his creditors at the door, Professor Edwards beats a path to the crumbling Harlem apartment house where Mona Pariss, once the toast of Europe for her singing, now lives in squalid obscurity. As his interviews progress, Edwards is gradually drawn into Mona’s strange world. At the same time, he finds himself entering into an affair with Hortense, a beautiful young assistant at New Black Woman. From revolutionary downtown poetry readings to a hospital bed on the Continent and back, becoming entangled in the lives of both women might turn Edwards’s bourgeois life upside down for good.

Rediscover the sensational 1967 literary thriller that captures the bitter struggles of postwar Black intellectuals and artists

With a foreword by Ishmael Reed and a new introduction by Merve Emre about how this explosive novel laid bare America's racial fault lines

Max Reddick, a novelist, journalist, and presidential speechwriter, has spent his career struggling against the riptide of race in America. Now terminally ill, he has nothing left to lose. An expat for many years, Max returns to Europe one last time to settle an old debt with his estranged Dutch wife, Margrit, and to attend the Paris funeral of his friend, rival, and mentor Harry Ames, a character loosely modelled on Richard Wright.

In Amsterdam, among Harry’s papers, Max uncovers explosive secret government documents outlining “King Alfred,” a plan to be implemented in the event of widespread racial unrest and aiming “to terminate, once and for all, the Minority threat to the whole of the American society.” Realizing that Harry has been assassinated, Max must risk everything to get the documents to the one man who can help.

Greeted as a masterpiece when it was published in 1967, The Man Who Cried I Am stakes out a range of experience rarely seen in American fiction: from the life of a Black GI to the ferment of postcolonial Africa to an insider’s view of Washington politics in the era of segregation and the Civil Rights Movement, including fictionalized portraits of Martin Luther King, Jr., and Malcolm X. John A. Williams and his lost classic are overdue for rediscovery.

Few novels have so deliberately blurred the boundaries between fiction and reality as The Man Who Cried I Am (1967), and many of its early readers assumed the King Alfred plan was real. In her introduction, Merve Emre examines the gonzo marketing plan behind the novel that fueled this confusion and prompted an FBI investigation. This deluxe paperback also includes a new foreword by novelist Ishmael Reed.

Benjamin "Chappie" Puttbutt, a black juior professor at the overwhelmingly white Jack London College, lusts after tenure and its glorious perks (including a house in the Oakland Hills). He spends most of his time trying to divine the ideological climate of the school and obligingly adapting his beliefs to it. When Puttbutt's mysterious Japanese tutor, who promises to teach him Japanese by spring, suddenly becomes the school's new president and appoints Puttbutt as academic dean, the fun really begins—for Puttbutt sets out to stir things up and settle old scores.

Turning every contemporary political and social movement on its head—from feminism to nationalism to jingoism—this boistrois and irreverent novel manages to be by turns hilarious and totally serious.

"One of the funniest satires of university politics I've ever read. Ishmael Reed is funnier than Norman Mailer or Gore Vidal." —Leslie Marmon Silko

"Reed is, as always, an American original; a wiseguy whose wisdom is the real thing," —The Boston Sunday Globe

Ishmael Reed has created a sharp, wildly funny slave’s-eye view of the Civil War.

Three slaves infected with Dysaethesia Aethipica (a term coined in the nineteenth century for the disease that makes Negroes run away) escape from Virginia. Not satisfied with leaving slavery halfway, one of the trio has vowed to go the whole distance to Canada; his master, Arthur Swille, determined to recover his property, pursues, hot on Raven Quickskill’s trail.

With myth-bending ingenuity, Reed merges history, fantasy, political reality, and high comedy as he parodies the fugitive slave narrative: the slave-poet Quickskill flees to Canada on a nonstop jumbo jet; Abe Lincoln waltzes through slave quarters to the tune of “Hello Dolly”; the plantation mistress lies in bed watching the Beecher Hour on TV. Flight to Canada’s preposterous episodes leap out from the pages of history to reveal a keen sense of America past and present.

Young Debbie Allen is destined for fame and everyone will know her name! A poetic, uplifting biography of a Black icon for kids ages 5-8.

New York Times best-selling author Tami Charles tells Debbie Allen’s inspiring story of perseverance and growing up during the Civil Rights Movement and Jim Crow South.

Young Debbie Allen was blocked from the local dance school in the 1950s Jim Crow American South. In order to allow Debbie to pursue her dream, Debbie's mother moved with her to Mexico where Debbie studied at the Ballet Nacional de Mexico. When they returned to Texas, Debbie was admitted to the Houston Ballet Foundation as the company’s first Black dancer, and a legendary career began.

Inspired by award-winning and NYT best-selling author Tami Charles’s interviews with living legend and dancer/actor Debbie Allen, this is an ode to creativity and perseverance, as well as an amazing history of a pivotal time in Debbie's life.

Du Bois' foundational investigation of social justice and civil rights by means of essay, poetry, prayer and short science fiction.

A new edition with a new introduction, Du Bois' radical text is a rare statement of values formed around the vision of a collective life, where the humanity of black women and men is treated with dignity and equality. He expresses his themes through a series of literary forms: polemic essay, spirituals, poetry and short science fiction, each of which forms a pulse of social justice from a time when a true understanding of intersections between poverty, work, racism and feminism was rare. A new title in the Foundations of Black Science Fiction series.

Updated with a new introduction from Robin Wall Kimmerer, the special edition of Braiding Sweetgrass, reissued in honor of the fortieth anniversary of Milkweed Editions, celebrates the book as an object of meaning that will last the ages. Beautifully bound with a new cover featuring an engraving by Tony Drehfal, this edition includes a bookmark ribbon and five brilliantly colored illustrations by artist Nate Christopherson. In increasingly dark times, we honor the experience that more than 350,000 readers in North America have cherished about the book—gentle, simple, tactile, beautiful, even sacred—and offer an edition that will inspire readers to gift it again and again, spreading the word about scientific knowledge, indigenous wisdom, and the teachings of plants.

As a botanist, Robin Wall Kimmerer has been trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these two lenses of knowledge together to take us on “a journey that is every bit as mythic as it is scientific, as sacred as it is historical, as clever as it is wise” (Elizabeth Gilbert).

Drawing on her life as an indigenous scientist, and as a woman, Kimmerer shows how other living beings—asters and goldenrod, strawberries and squash, salamanders, algae, and sweetgrass—offer us gifts and lessons, even if we've forgotten how to hear their voices. In reflections that range from the creation of Turtle Island to the forces that threaten its flourishing today, she circles toward a central argument: that the awakening of ecological consciousness requires the acknowledgment and celebration of our reciprocal relationship with the rest of the living world. For only when we can hear the languages of other beings will we be capable of understanding the generosity of the earth, and learn to give our own gifts in return.

A twenty-fifth anniversary edition of Charles Johnson’s National Book Award-winning masterpiece—"a novel in the tradition of Billy Budd and Moby-Dick…heroic in proportion…fiction that hooks the mind" (The New York Times Book Review)—now with a new introduction from Stanley Crouch.

Rutherford Calhoun, a newly freed slave and irrepressible rogue, is lost in the underworld of 1830s New Orleans. Desperate to escape the city’s unscrupulous bill collectors and the pawing hands of a schoolteacher hellbent on marrying him, he jumps aboard the Republic, a slave ship en route to collect members of a legendary African tribe, the Allmuseri. Thus begins a voyage of metaphysical horror and human atrocity, a journey which challenges our notions of freedom, fate and how we live together. Peopled with vivid and unforgettable characters, nimble in its interplay of comedy and serious ideas, this dazzling modern classic is a perfect blend of the picaresque tale, historical romance, sea yarn, slave narrative and philosophical allegory.

Now with a new introduction from renowned writer and critic Stanley Crouch, this twenty-fifth anniversary edition of Middle Passage celebrates a cornerstone of the American canon and the masterwork of one of its most important writers. "Long after we’d stopped believe in the great American novel, along comes a spellbinding adventure story that may be just that" (Chicago Tribune).

The story of the Combahee River Raid, one of Harriet Tubman's most extraordinary accomplishments, based on original documents and written by a descendant of one of the participants.

Most Americans know of Harriet Tubman's legendary life: escaping enslavement in 1849, she led more than 60 others out of bondage via the Underground Railroad, gave instructions on getting to freedom to scores more, and went on to live a lifetime fighting for change. Yet the many biographies, children's books, and films about Tubman omit a crucial chapter: during the Civil War, hired by the Union Army, she ventured into the heart of slave territory--Beaufort, South Carolina--to live, work, and gather intelligence for a daring raid up the Combahee River to attack the major plantations of Rice Country, the breadbasket of the Confederacy.

Edda L. Fields-Black--herself a descendent of one of the participants in the raid--shows how Tubman commanded a ring of spies, scouts, and pilots and participated in military expeditions behind Confederate lines. On June 2, 1863, Tubman and her crew piloted two regiments of Black US Army soldiers, the Second South Carolina Volunteers, and their white commanders up coastal South Carolina's Combahee River in three gunboats. In a matter of hours, they torched eight rice plantations and liberated 730 people, people whose Lowcountry Creole language and culture Tubman could not even understand. Black men who had liberated themselves from bondage on South Carolina's Sea Island cotton plantations after the Battle of Port Royal in November 1861 enlisted in the Second South Carolina Volunteers and risked their lives in the effort.

Using previous unexamined documents, including Tubman's US Civil War Pension File, bills of sale, wills, marriage settlements, and estate papers from planters' families, Fields-Black brings to life intergenerational, extended enslaved families, neighbors, praise-house members, and sweethearts forced to work in South Carolina's deadly tidal rice swamps, sold, and separated during the antebellum period. When Tubman and the gunboats arrived and blew their steam whistles, many of those people clambered aboard, sailed to freedom, and were eventually reunited with their families. The able-bodied Black men freed in the Combahee River Raid enlisted in the Second South Carolina Volunteers and fought behind Confederate lines for the freedom of others still enslaved not just in South Carolina but Georgia and Florida.

After the war, many returned to the same rice plantations from which they had escaped, purchased land, married, and buried each other. These formerly enslaved peoples on the Sea Island indigo and cotton plantations, together with those in the semi-urban port cities of Charleston, Beaufort, and Savannah, and on rice plantations in the coastal plains, created the distinctly American Gullah Geechee dialect, culture, and identity--perhaps the most significant legacy of Harriet Tubman's Combahee River Raid.

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Now in paperback, from New York Times bestselling author Eric Jerome Dickey—named one of USA Today’s 100 Black Novelists and Fiction Authors You Should Read—comes his final work: an unflinchingly timely novel about history, hearts, and family.

It’s the summer of 2019, and Professor Pi Suleman is a Black man from Memphis with a lot to endure—not only as a Black man in Trump’s America but in his hard-earned career as an adjunct professor. Pi is constantly forced to bite his tongue in the face of one of his tenured colleague’s prejudices and microaggressions. At the same time, he’s being blackmailed by a powerful professor who threatens to claim he has assaulted her, when in fact the truth is just the opposite, trapping him in a he-said-she-said with a white woman that, in this society, Pi knows he will never win.

When he meets Gemma Buckingham, a sophisticated entrepreneur who has just moved to Memphis from London to escape a deep heartbreak, things begin to look up. Though Gemma and Pi hail from separate cultures, their differences fuel a fiery and passionate connection that just may consume them both.