E. Patrick Johnson's Honeypot opens with the fictional trickster character Miss B. barging into the home of Dr. EPJ, informing him that he has been chosen to collect and share the stories of her people. With little explanation, she whisks the reluctant Dr. EPJ away to the women-only world of Hymen, where she serves as his tour guide as he bears witness to the real-life stories of queer Black women throughout the American South. The women he meets come from all walks of life and recount their experiences on topics ranging from coming out and falling in love to mother/daughter relationships, religion, and political activism. As Dr. EPJ hears these stories, he must grapple with his privilege as a man and as an academic, and in the process he gains insights into patriarchy, class, sex, gender, and the challenges these women face. Combining oral history with magical realism and poetry, Honeypot is an engaging and moving book that reveals the complexity of identity while offering a creative method for scholarship to represent the lives of other people in a rich and dynamic way.

Johnson looks at various sites of performed blackness, including Marlon Riggs’s influential documentary Black Is . . . Black Ain’t and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother’s experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances—ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community—Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness.

From the award-winning author of Yellow Wife, a daring and redemptive novel set in 1950s Philadelphia and Washington, DC, that explores what it means to be a woman and a mother, and how much one is willing to sacrifice to achieve her greatest goal.

1950s Philadelphia: fifteen-year-old Ruby Pearsall is on track to becoming the first in her family to attend college, in spite of having a mother more interested in keeping a man than raising a daughter. But a taboo love affair threatens to pull her back down into the poverty and desperation that has been passed on to her like a birthright.

Eleanor Quarles arrives in Washington, DC, with ambition and secrets. When she meets the handsome William Pride at Howard University, they fall madly in love. But William hails from one of DC’s elite wealthy Black families, and his par­ents don’t let just anyone into their fold. Eleanor hopes that a baby will make her finally feel at home in William’s family and grant her the life she’s been searching for. But having a baby—and fitting in—is easier said than done.

With their stories colliding in the most unexpected of ways, Ruby and Eleanor will both make decisions that shape the trajectory of their lives.

Residual textures, patterns and structures of the abandoned Ebony and Jet offices represent both the spirit of a Black publishing empire and the sense of its loss

This book by photographer Barbara Karant commemorates the Johnson Publishing Company, publisher of the iconic Ebony and Jet magazines and the most influential Black-owned media corporation of its day. Karant spent more than three years documenting the company’s historic building at 820 S. Michigan Avenue in downtown Chicago, capturing the last vestiges of the original workspace after the company sold the building in 2010 and relocated in 2012. These vibrant interiors, which remained largely unchanged from 1972 to 2012, fostered the creativity of a staff working in a variety of media. Each floor of the 11-story building flaunted distinct color and pattern combinations, and its bold, contemporary design telegraphed JPC’s position at the forefront of Black American business and culture. Stripped of its furnishings, the interiors of the former JPC headquarters simultaneously represent the spirit of this landmark company and the sense of its loss, of a seminal moment in Black American history and the history of this nation.
Accompanying the approximately 125 color photographs by Karant are documentary images of the original interiors, along with other archival material.  A foreword by Deborah Willis and essays by Aaron Bryant, Cheryl Finley, Carla Williams, Jon Ott, Brenna Wynn Greer, and E. James West address JPC’s dominance as an image and tastemaker in mid- to late-20th century America, the landscape of American Black media, the Ebony in-house photo studio, and the site-specific lobby sculpture by Richard Hunt. Short texts by former employees who worked in the building contribute important documentation to JPC’s history. 820 Ebony/Jet is a tribute to the achievements of this remarkable American company.

The Black Power movement represented a key turning point in American politics. Disenchanted by the hollow progress of federal desegregation during the 1960s, many black citizens and leaders across the United States demanded meaningful self-determination. The popular movement they created was marked by a vigorous artistic renaissance, militant political action, and fierce ideological debate.

Exploring the major political and intellectual currents from the Black Power era to the present, Cedric Johnson reveals how black political life gradually conformed to liberal democratic capitalism and how the movement’s most radical aims—the rejection of white aesthetic standards, redefinition of black identity, solidarity with the Third World, and anticapitalist revolution—were gradually eclipsed by more moderate aspirations. Although Black Power activists transformed the face of American government, Johnson contends that the evolution of the movement as a form of ethnic politics restricted the struggle for social justice to the world of formal politics.

Johnson offers a compelling and theoretically sophisticated critique of the rhetoric and strategies that emerged in this period. Drawing on extensive archival research, he reinterprets the place of key intellectual figures, such as Harold Cruse and Amiri Baraka, and influential organizations, including the African Liberation Support Committee, the National Black Political Assembly, and the National Black Independent Political Party in postsegregation black politics, while at the same time identifying the contradictions of Black Power radicalism itself.

Documenting the historical retreat from radical, democratic struggle, Revolutionaries to Race Leaders ultimately calls for the renewal of popular struggle and class-conscious politics.

Cedric Johnson is assistant professor of political science at Hobart and William Smith Colleges.

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).

They may be the author of the #1 most banned book in America, but George M. Johnson isn't finished telling their story yet. Written with unflinching emotion and unapologetic boldness, And If I Die Before I Wake is nothing short of a testimony -- one the world desperately needs to hear.

George M. Johnson is no stranger to death. In this debut adult memoir, readers are invited to witness as they navigate an HIV diagnosis, alcoholism, tremendous loss, and nationwide book bans over the span of 15 years. Through the highs and lows of life in the spotlight, they have clung to family and community like never before -- finding their most authentic self along the way.

Drawing inspiration from Toni Morrison, Jesmyn Ward, and Ta-Nehisi Coates, And If I Die Before I Wake explores grief, trauma, sexuality, and the Black family through the lens of transformation, healing, and hope. Poetic, grounded, and bursting with signature humor, this is New York Times-bestselling author George M. Johnson more bold, more brave, and more daring than ever.

Award-winning author Micaiah Johnson invites you to Abernathy House.

A house, itself, is nothing. It’s not a shelter until it is sheltering someone. A house is a housefire, waiting for its match. A house is a ghost story, waiting for its death.

At the end of the Civil War, a daughter of the Confederacy made what she thought was an innocent wish: to build a house where nothing bad could happen. But peace came at a price, and one hundred and seventy years later Shantell and her friends are about to discover where all that darkness ended up.

When Shantell’s best friend, Avery, tells her he has inherited a house big enough to make their dreams of a sanctuary come true, she’s too cautious to be optimistic. A lifetime of loss — her father to the Iraq war, her brother to police violence, and her mother to suicide — has taught her cynicism, and even though Avery swears the house has never experienced a tragedy, she goes along expecting everything from black mold to evil spirits.

But not only is the house in better shape than they’d expected, it makes them better too: Shantell’s anxiety stops flaring up; terminally shallow Avery is suddenly capable of deeper emotions; and Tobias, Avery’s older brother and the contractor for the job, even quits chain smoking.

There’s an eeriness to the calm, and it’s almost a relief when they realize they do not walk alone in Abernathy House. If nothing bad has ever happened here, where are all these ghosts coming from? As they dig into the house’s history, Shantell, Avery, and Tobias discover that there’s only one thing worse than a house that’s haunted: a house that desperately wants to be.

Featuring a new original introduction by Opal Palmer Adisa

Avey Johnson--a Black, middle-aged, middle-class widow given to hats, gloves, and pearls--has long since put behind her the Harlem of her childhood. Then on a cruise to the Caribbean with two friends, inspired by a troubling dream, she senses her life beginning to unravel--and in a panic packs her bag in the middle of the night and abandons her friends at the next port of call. The unexpected and beautiful adventure that follows provides Avey with the links to the culture and history she has so long disavowed. Originally published in 1983, Praisesong for the Widow was a recipient of the Before Columbus Foundation American Book Award, and is presented here in a beautiful new hardcover edition as the second title in McSweeney's Of the Diaspora series.

"Astonishingly moving."
-Anne Tyler, The New York Times Book Review

About Of the Diaspora
McSweeney's Of the Diaspora is a series of previously published works in Black literature whose themes, settings, characterizations, and conflicts evoke an experience, language, imagery and power born of the Middle Passage and the particular aesthetic which connects African-derived peoples to a shared artistic and ancestral past. Wesley Brown's Tragic Magic, the first novel in the series, was originally published in 1978 and championed by Toni Morrison during her tenure as an editor at Random House. This Of the Diaspora edition features a new introduction written by Brown for the series. Tragic Magic will be followed by Paule Marshall's novel of a Harlem widow claiming new life. Praisesong for the Widow was originally published in 1983 and was a recipient of the Before Columbus Foundation American Book Award. The series is edited by writer Erica Vital-Lazare, a professor of creative writing and Marginalized Voices in literature at the College of Southern Nevada. Published in collectible hardcover editions with original cover art by Sunra Thompson, the first three works hail from Black American voices defined by what Amiri Baraka described as strong feeling "getting into new blues, from the old ones." Of the Diaspora-North America will be followed by series from the diasporic communities of Europe, the Caribbean and Brazil.

Join us for a montly children's storytime at Kindred Stories. Each Story time will celebrate a special book and be read by a wondertful community mementer. IT also includes a story time. 

Featured Book: Daisy Helps With The Dress 

Featured Reader: Antonia Adams 

EVENT DEETS

When: Saturday, September 26 @ 11 AM CST 

Where: Kindred Stories (2310 Elgin St. Houston, TX 77004)

How: 

• RSVP ONLY to reserve your spot and let us know you are coming.

ABOUT DAISY HELPS WITH THE DRESS 

When Daisy tries to help with her cousin’s wedding, her misguided assists almost ruin the big day, until she finds a way to pull the dress—and her family—together in this charming picture book by award-winning author Olugbemisola Rhuday-Perkovich.

Daisy loves helping her family and she knows the best kind of helpers never wait to be asked. That’s why she doesn’t ask before adding finishing touches to her family’s special reused, re-tried, remixed things, like a leftover broccoli topping for Auntie Fontie’s cakes or a good bath for Nana DJ’s “back-in-the-day, rusty, dusty” vintage albums—much to their chagrin.

But what Daisy wants most is to help give her cousin Simone’s recycled wedding dress a little razzle dazzle. She knows just what the vintage dress needs: a little glitter here, a few stickers there to give the dress some flair.

But Daisy’s cousin Simone and the rest of the family are not so happy with her decorations. Can Daisy make things right and help find Simone a new re-lived, re-loved wedding dress?