The classic tale of a Nigerian woman who overcomes strict tribal domination only to encounter the hardships of immigration. Available again.

In the late 1960’s, Adah, a spirited and resourceful woman manages to move her family to London. Seeking an independent life for herself and her children she encounters racism and hard truths about being a new citizen. “Second Class Citizen pales a lot of academic feminist writing into insignificance.” –The Guardian

“Emecheta’s prose has a shimmer of originality, of English being reinvented....Issues of survival lie inherent in her material and give her tales weight.” --John Updike

A feminist literary classic by one of Africa’s greatest women writers, re-issued with a new introduction by Stéphane Robolin.

First published in 1979, The Joys of Motherhood is the story of Nnu Ego, a Nigerian woman struggling in a patriarchal society. Unable to conceive in her first marriage, Nnu is banished to Lagos where she succeeds in becoming a mother. Then, against the backdrop of World War II, Nnu must fiercely protect herself and her children when she is abandoned by her husband and her people. Emecheta “writes with subtlety, power, and abundant compassion” (New York Times).

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Enter St. Paradise, a city pulsing with blood magic, where clan secrets and shifting allegiances rule the land. For the first time, bestselling novelist Akwaeke Emezi brings their powerful talents to epic fantasy!

Ten years ago, Eclipse Orinabe and her aunt, Silver, were the sole survivors of a massacre that nearly wiped out their clan.

Then the Orinabe unleash their revenge: the annihilation of the clans who betrayed them, and the release of rapture, a drug so potent that the clan—once peaceful pharmaceutical makers—soon have St. Paradise in a chokehold.

Disturbed by the Orinabe’s bloody rise, the surviving clan leaders nonetheless make nice with Silver, known as the Butcher, and accept Eclipse—a weapon disguised as a glamorous clan princess—into society.

With the foundations of St. Paradise trembling, one spark will set the city aflame. And embers are everywhere: Wolf, Heir to the Goldshot clan, is on the run from his own people, armed with holy golden bullets. He claims sanctuary with Clan Heron, spies so secretive that no one knows their true Heir.

Noah, Heir to the psychic Solarin clan, is pushed into a consuming relationship with Eclipse by his clan leaders. But neither Heir is what the other thinks—and the secret Noah is keeping is powerful enough to blink out St. Paradise’s entire existence in an instant.

An ancient magic ties these clans together and a brutal reckoning will come as the Heirs collide and claim their fraught inheritance.

Emotionally rich, explosively thrilling, and finely wrought as all of Emezi’s work, their new standalone novel is perfect for fans of the author or Fonda Lee, R.F. Kuang, and V.E. Schwab.

A comprehensive survey of Ghanaian sculptor El Anatsui’s experimental prints and paper works

Acclaimed contemporary artist El Anatsui (b. 1944) is renowned for his intricate large-scale sculptures across a range of media―from clay and wood to discarded materials such as bottle caps and cassava graters. Less well known are his inventive prints and paper works, which share an important relationship to his sculptural practice. Examining the connection between the experimental quality of his prints and the radical compositions of his metal sculptures, this book uncovers the invaluable role of printmaking in the development of his artistic imagination and studio practice.

Beginning with Anatsui’s first encounter with printmaking at the University of Nigeria, Nsukka, author Chika Okeke-Agulu traces the artist’s engagement with the techniques and modalities of the medium, investigating how this allowed him to explore line, color, texture, and form. Offering an overview of Anatsui’s six decades of work on paper and aluminum, the book also includes a comprehensive catalogue of his prints. An essay placing Anatsui’s print work within the context of contemporary collaborative studio practices enriches our understanding of the global field of printmaking, and the book is further enlivened by a conversation with the artist himself. 

Distributed for the Philadelphia Museum of Art

Exhibition schedule:

Philadelphia Museum of Art

(December 19, 2026–May 2, 2027)

We Made the World: Five Centuries of Queens, Warriors, and Other Foremothers traces five centuries of history through twelve extraordinary women of African descent—from queens and warriors to artists and activists—weaving together collective memory, oral tradition, and personal grief into a landmark work that places Black women at the center of world history.

In 1949, a seamstress from a small coastal town in the Gold Coast colony stood up in a room full of men and voted to split from the most powerful political party in the country. Her name was Hannah Kudjoe. She spent the next decade organizing the women who would win Ghana's first democratic election and help make it the first sub-Saharan African nation to gain independence from European colonial rule. When Nkrumah published his autobiography, she wasn't in it.

We Made the World does for twelve women what it does for Hannah Kudjoe. It finds the woman who was in the room, who was essential to the room, and whose name was removed from the record the moment her usefulness to powerful men was exhausted.

We're talking about Queen Njinga of Angola, who fought the Portuguese to a standstill for forty years and died at eighty still a sovereign. Wangarĩ Maathai, the Nobel Peace Prize winner who saved a Nairobi forest by walking upstream through a river at dawn to plant trees while the police watched. Brenda Fassie, the queer Black pop icon who sang South Africa through the end of apartheid and whose music still stops a room on any continent.

The author traveled to eleven countries to write this book. She gathered oral histories from descendants and community keepers across four continents. And she wrote it while experiencing great loss and grief which means this book knows in its bones what it costs to carry someone's memory, and what it costs not to.

We Made the World is five hundred years of history rewritten from the inside. It is the book that asks what we have lost by not knowing these women's names, and begins the important work of giving that back to us all.

In a brilliant departure from the novels that made Jesse Q. Sutanto a USA Today bestselling author—including Dial A for Aunties—comes the first book in a debut dark fantasy duology, following an assassin, a scholar, a con man, and a guard in a race to rediscover powerful lost magic and save their world...

Mara has no memory of life before her assassin training behind the fortress-like walls of Tchu-Morrokhai, which has been her world since she was five. Practicing discipline and strategy, sacrifice and solitude, she has dedicated herself to resisting the Divine Empress’s plans of eradicating the all-but-forgotten magic. She longs for a world once again filled with magic—and freedom and love. And she’ll do whatever it takes to find those things.

In the faraway city of Velingard, Livya is the privileged daughter of the revered scientist whose invention of an indestructible new metal was the catalyst for a great revolution. Yet Livya’s bored of suitors and balls, more interested in philosophical debates. But when an invite to a secret salon leads to a kidnapping attempt, Livya is suddenly on the run—with the unlikely aid of charming con man Kaian, a once dear childhood friend inexplicably turned frosty stranger.

Captain Fonde has served Velingard faithfully in the twenty years since the revolution, and all has been peaceful... until now, when he’s informed that their “indestructible” metal is inexplicably starting to crumble. Ships, bridges, buildings, statues—their entire post-revolution world is literally about to come apart. Could it be that the metal—and therefore the revolution—was flawed all along? Or is there something darker—evil, ancient, inhuman—at play?

With stunning world-building, Jesse Q. Sutanto weaves an epic tale of characters whose lives irrevocably intertwine—and unravel—as paths collide across continents, racing toward an explosive twist that will forever change all of their fates...

From the final decades of US slavery to the present, a powerful and illuminating history of a profound inequity: the special burden of infant care and loss experienced by Black women.

In the United States, Black infants are far less likely than white infants to survive their first year of life. Underlying this predicament is a history of profound loss and persistent striving, which has durably shaped Black life in America. Following generations of mothers, caregivers, laborers, and activists from the final decades of slavery to the present, Perilous Passages chronicles the intimate practices and collective strategies Black communities created and relied upon to sustain early life threatened by disease, inadequate medical care, and racialized harm.

Perilous Passages examines nineteenth-century domestic care practices that carried families through the violence of slavery and war, and traces Black eugenic ideas, the efforts of various grassroots movements, and myths and realities surrounding the 1980s panic over “crack babies.” Health professionals, legal officials, and scientific experts exerted pressure, sometimes directly―as in antimidwifery campaigns―and sometimes more subtly, through life insurance practices that devalued Black life. Wangui Muigai shows that at every turn, authorities recast infant deaths as the fault of Black women, with ongoing impact on birthing experiences and outcomes. Still, Black women and their communities have always done more than bear loss. They have produced vital knowledge about its causes, trained in specialized care, developed networks of cradle-to-grave support, and organized to reform society in ways that safeguard children.

Centering Black women’s experiences, Perilous Passages insists on visceral confrontation with the deadliness of American racism while also offering a powerful account of what makes life possible.

A heartfelt, interracial, contemporary romance debut--and a love letter to K dramas--featuring a single mom whose chance to turn her neighborhood restaurant into a household name is upended by an unexpected spark with a swoon-worthy Korean business magnate, for fans of Kennedy Ryan, Tia Williams, and Susan Lee.

Keisha Thomson loves K-Dramas, but she never thought her life would turn into one. Keisha is a 37-year-old, divorced mom of her beloved autistic son, Kai, and the ambitious owner of True Soul, a Harlem soul-food restaurant. Set between Harlem and Seoul, the novel follows bold and pragmatic Keisha, charming yet duty-bound Han Seojun, and the viral red velvet cake that brings them together. What begins as a cultural and culinary clash becomes a whirlwind romance that upends everything they thought they knew about love, ambition, and what it means to put yourself first.

Life is a K Drama brings together Sherri Shepherd and Jayci Lee's complementary voices to create something truly fresh. Part escapism and part self-discovery, it’s for anyone who’s ever rebuilt themselves from scratch and for readers who crave joy that feels earned and real. With shades of Tia William’s Seven Days in June and Sally Thorne’s The Hating Game, it’s a sweeping, cinematic love story that glows with humor, heart, and hard-won hope. Importantly, it’s not just a romance between Keisha and Seojun, it’s also a love story about family, food, and culture.

Silver loves to swim and dreams of one day becoming a mermaid. There's only one problem: Her dad can't swim! 

From the bath to the pool and the beach, Silver's always been a water baby. 

She looks like a mermaid, swims like a fish, and even sleeps under the sea. 

Silver and her dad bake mermaid-tail cupcakes, build mermaid caves, and read underwater stories, but he can't join her in the pool like other dads. Silver would rather give up on her mer-mazing dreams than swim away without her dad. But what if she doesn't have to? 

This joyful story celebrates swimming and empowers little dreamers to pursue their passions.

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.

An essential history of modern Black cinema, as led by avant-garde filmmaker, director, novelist, composer, and playwright Melvin Van Peebles.

Beg Borrow Steal, a title inspired by Black artists’ make-a-way-out-of-no-way ethos, is a stirring and remarkable deep dive into Black independent film and culture, as modeled by raconteur and iconoclast Melvin Van Peebles. Award-winning writer Santi Elijah Holley enriches the extraordinary history with interviews from today’s most innovative Black independent filmmakers and actors, such as Julie Dash, Charles Burnett, and Samuel L. Jackson, as well as Van Peebles’s published and unpublished manuscripts, critical reviews, analyses, and reflections.

Independent Black artists across all disciplines—from music and theater to literature and poetry—continue to push boundaries, challenge stereotypes, and pursue their own vision, away from traditional gatekeepers. The success of artists like Spike Lee, Barry Jenkins, Ava DuVernay, Jordan Peele, and Ryan Coogler can be traced directly to the pioneering work of Van Peebles, whose ambitious and innovative multidisciplinary artistry never yielded to anybody else’s vision but his own.

As a Black American who’d overcome poverty, discrimination, and other obstacles, Van Peebles refused to let White America take advantage of him and his talent. It’s made him a beacon for every Black auteur and independent filmmaker of the past 50 years. Sinners, Black Panther, Sorry to Bother You, Get Out, She's Gotta Have It, Do the Right Thing, Boyz n the Hood, Shaft, Superfly, Daughters of the Dust, Selma, the list goes on. It is impossible to imagine any of these culturally defining films existing, if not for the groundwork laid by Melvin Van Peebles’s 1971 Sweet Sweetback’s Baadasssss Song. It is canon in Black film.

Beg Borrow Steal is the story of the legendary man who provided the blueprint for independent Black cinema, and a tribute to the power of radical Black creativity in American art and culture.