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Tracey E. Hucks traces the history of the repression of Obeah practitioners in colonial Trinidad.

Obeah, Orisa, and Religious Identity in Trinidad is an expansive two-volume examination of social imaginaries concerning Obeah and Yoruba-Orisa from colonialism to the present. Analyzing their entangled histories and systems of devotion, Tracey E. Hucks and Dianne M. Stewart articulate how these religions were criminalized during slavery and colonialism yet still demonstrated autonomous modes of expression and self-defense. In Volume I, Obeah, Hucks traces the history of African religious repression in colonial Trinidad through the late nineteenth century. Drawing on sources ranging from colonial records, laws, and legal transcripts to travel diaries, literary fiction, and written correspondence, she documents the persecution and violent penalization of African religious practices encoded under the legal classification of “obeah.” A cult of antiblack fixation emerged as white settlers defined themselves in opposition to Obeah, which they imagined as terrifying African witchcraft. These preoccupations revealed the fears that bound whites to one another. At the same time, persons accused of obeah sought legal vindication and marshaled their own spiritual and medicinal technologies to fortify the cultural heritages, religious identities, and life systems of African-diasporic communities in Trinidad.

A fiercely candid, funny, and sometimes heartbreaking blend of memoir and self-help on vulnerability, identity, and reclaiming your life

What if you didn't need Bali to find yourself? For 14 years, Traci Saulsberry led communications at NBC, becoming one of the youngest Black executives at the company. She had everything a modern woman is told to want―the house, her son, the high-powered job.

But when her carefully constructed life collapsed, Saulsberry was confronted with a question she'd been avoiding for years: Who was she, really?

Here I was, caught on my heels, with no backup lover to pick up the slack. Naturally, because I am a product of an adolescence spent binging rom-coms filled with sweeping tales, I wanted to run away and leave it all behind. I romanticized that there must be a flight to the farthest island on the edge of the world where I could just start over again. My archnemesis, reality, quickly snapped me out of that daydream. I wasn't going anywhere. I felt trapped.

This Is How You Love Her is a vulnerable narrative guide to uncovering your identity in life's small moments, right where you are. With wit and insight, heart and cinematic prose, Saulsberry weaves together pages from her journal, conversational guides, poetry, and reflection prompts in this memoir-meets-guide that gives readers permission to get to know themselves at their own pace.

For anyone who's ever lost themselves in work, relationships, or the image they built to survive―this is your roadmap home.

And this is how you love her.

Perfect for fans of memoirs, self-help, and journaling, this book explores:

* Perfection: Unlearning the belief that you’re not allowed to get it wrong
* Body Autonomy: Reclaiming your body  and learning to be present in your own skin
* Boundaries: Setting limits with the people you love most, even when it means risking the relationship
* Control: Releasing the need to manage everyone's perception and trusting yourself to just be

A debut collection of lyric poems interrogating the generational implications of the Great Migration to Northern California. 

Ankle-Deep in Pacific Water, a debut collection by E. Hughes, marries personal narrative with historical excavation to articulate the intricacies of Black familial love, life, and pain. Tracing the experiences of a southern Black family, their migration to the San Francisco Bay area, and the persistent anti-Blackness there (despite the state’s insistence that it is/was not involved in the US’ projects of imperialism or chattel slavery), Hughes illuminates the intersections of history, grief, and violence.

At the book’s heart is “The Accounts of Mammy Pleasant,” a persona poem written from the perspective of the formerly enslaved abolitionist and financier Mary Ellen Pleasant who is thought to have helped fund John Brown’s raid on Harpers Ferry. Alongside this historical account, Hughes deftly weaves in the story of a contemporary Black family navigating the generational trauma resulting from the Great Migration: domestic violence and racialized violence, familial love and loyalty, the work of parenting, and the work of being a child. Ankle-Deep in Pacific Water reveals in its pages that, while many things have changed over time, ultimately the question of what “freedom” meant and looked like for Black people in the early 20th century retains the same murkiness and contradictions for Black people today.

A poignant picture book about a family's resilience in the midst of the climate crisis as they prepare for an incoming storm.

The weather is always changing where Arianna lives. From baking summers to icy winters, she and her family have learned to cope with whatever the weather throws at them. But one time of year frightens Arianna more than anything else: hurricane season.

Hurricanes don't come to her southern US city every year, so she watches the sky and waits in worry. When a storm looms close by, Arianna and her parents stock up on food and water, refill first-aid kits, and board up windows. And when the hurricane arrives and floods Arianna’s home, her mother softly sings, “Hush, hush, hurricane, don’t you creep. Hush, hush, hurricane, let us sleep.” Arianna spends a long night in her parents’ arms. By morning, the storm has faded, and everyone's all right.

With lyrical text by Deborah D.E.E.P. Mouton and stunning illustrations by Trudy Tran, Hush, Hush, Hurricane reassures us that it's okay to be afraid when scary things happen, while offering helpful reminders: Be prepared, have a plan, and take care of your family and neighbors. Features backmatter that includes an emergency preparedness list and author's note.

A Harper Perennial Deluxe Modern Classic

The bold, funny, and poignant autobiography from one of American literature’s greats, now beautifully packaged as a Harper Perennial Deluxe Edition

“Warm, witty, imaginative. . . . This is a rich and winning book.”—The New Yorker

“I have been in Sorrow’s kitchen and licked out all the pots. Then I have stood on the peaky mountain wrapped in rainbows with a harp and a sword in my hands.”—Zora Neale Hurston

First published in 1942 at the crest of her popularity as a writer, this is Zora Neale Hurston’s imaginative and exuberant account of her rise from childhood poverty in the rural South to a prominent place among the leading artists and intellectuals of the Harlem Renaissance.

Dust Tracks on a Road is the bold, poignant, and funny autobiography of novelist, folklorist, and anthropologist Zora Neale Hurston, one of American literature’s most compelling and influential authors. Hurston’s powerful novels of the South—including Jonah’s Gourd Vine and, most famously, Their Eyes Were Watching God—continue to enthrall readers with their lyrical grace, sharp detail, and captivating emotionality. First published in 1942, Dust Tracks on a Road is Hurston’s personal story, told in her own words. The Perennial Modern Classics Deluxe edition includes an all-new forward by Maya Angelou, an extended biography by Valerie Boyd, and a special P.S. section featuring the contemporary reviews that greeted the book’s original publication.

This Library of America volume, with its companion, brings together for the first time all of the best writing of Zora Neale Hurston, one of the most significant twentieth-century American writers, in one authoritative set.

“Folklore is the arts of the people,” Hurston wrote, “before they find out that there is any such thing as art.” A pioneer of African-American ethnography who did graduate study in anthropology with the renowned Franz Boas, Hurston devoted herself to preserving the black folk heritage. In Mules and Men (1935), the first book of African-American folklore written by an African American, she returned to her native Florida and to New Orleans to record stories and sermons, blues and work songs, children’s games, courtship rituals, and formulas of voodoo doctors. This classic work is presented here with the original illustrations by the great Mexican artist Miguel Covarrubias.

Tell My Horse (1938), part ethnography, part travel book, vividly recounts the survival of African religion in Jamaican obeah and Haitian voodoo in the 1930s. Keenly alert to political and intellectual currents, Hurston went beyond superficial exoticism to explore the role of these religious systems in their societies. The text is illustrated by twenty-six photographs, many of them taken by Hurston. Her extensive transcriptions of Creole songs are here accompanied by new translations.

A special feature of this volume is Hurston’s controversial 1942 autobiography, Dust Tracks on a Road. With consultation by Henry Louis Gates, Jr., it is presented here for the first time as she intended, restoring passages omitted by the original because of political controversy, sexual candor, or fear of libel. Included in an appendix are four additional chapters, one never published, which represent earlier stages of Hurston’s conception of the book.

Twenty-two essays, from “The Eatonville Anthology” (1926) to “Court Order Can’t Make Races Mix” (1955), demonstrate the range of Hurston’s concerns as they cover subjects from religion, music, and Harlem slang to Jim Crow and American democracy.

The chronology of Hurston’s life prepared for this edition sheds fresh light on many aspects of her career. In addition, this volume contains detailed notes and a brief essay on the texts.

LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.