A landmark book—the first complete publication of Langston Hughes’s translations of thirty-three stories by eighteen Mexican and Cuban writers

In late 1934, Langston Hughes, already established as a leading voice of literary Black America, traveled to Mexico City, where he stayed for more than five months and began translating short fiction by prominent Mexican and Cuban writers. These stories, as he wrote to a friend, explore “the revolutions and uprisings, sugar cane, Negroes, Indians, corrupt generals, [and] American imperialists,” and are “mostly all left stories, because practically all the writers down here are left these days.” But when Hughes proposed publishing the stories as a book, to be titled Troubled Lands, his agent discouraged him from further pursuing the project and it remained unpublished, until now, with only a handful of the translations making their way into contemporary magazines. This volume presents Hughes’s translations of these stories together for the first time as he originally envisioned. Edited by Ricardo Wilson, the book also features an introduction and brief biographies of the included writers.

Troubled Lands features thirty-three stories by eighteen writers, including Rafael Felipe Muñoz, Nellie Campobello, Lino Novás Calvo, Luis Felipe Rodríguez, Germán List Arzubide, Pablo de la Torriente-Brau, and Juan de la Cabada. The collection depicts Mexico in the wake of its revolution and Cuba in the years between the brutal regimes of Machado and Batista.

Hughes was a noted translator of poetry, but his commitment to translating fiction is less well known. Troubled Lands provides a window into this important dimension of his work and illuminates his deep interest in Mexico and Cuba.

With a New Introduction and Notes by Henry Louis Gates, Jr. and Richard J. Ellis

A fascinating fusion of two literary models of the nineteenth century, the sentimental novel and the slave narrative, Our Nig, apart from its historical significance, is a deeply ironic and highly readable work, tracing the trials and tribulations of Frado, a mulatto girl abandoned by her white mother after the death of the child's black father, who grows up as an indentured servant to a white family in nineteenth-century Massachusetts.

This definitive edition of Our Nig includes a new Introduction by Henry Louis Gates, Jr. and Richard J. Ellis and a set of appendices:  "Harriet Wilson's Career as a Spiritualist";  "Hattie E. Wilson in the Banner of Light and Spiritual Scientist" a collection of her extant contributions to these newspapers;  "Documents from Harriet Wilson's Life in Boston," and a compilation of primary source material relating to Wilson's identity.  There is also a new chronology of the life of Harriet Wilson by Richard J. Ellis, as well as an up-to-date Select Bibliography of current scholarship regarding Harriet Wilson. This edition gives the fullest account to date of the life of Harriet Wilson, filling out many critical points regarding her life after writing Our Nig, in particular when she became a "medium" who communicated with the dead and as an educator in the "Spiritualist" movement after the Civil War.

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.

Focusing on Black Americans' participation in world’s fairs, Emancipation expositions, and early Black grassroots museums, Negro Building traces the evolution of Black public history from the Civil War through the civil rights movement of the 1960s. Mabel O. Wilson gives voice to the figures who conceived the curatorial content: Booker T. Washington, W. E. B. Du Bois, Ida B. Wells, A. Philip Randolph, Horace Cayton, and Margaret Burroughs. Originally published in 2012, the book reveals why the Black cities of Chicago and Detroit became the sites of major Black historical museums rather than the nation's capital, which would eventually become home for the Smithsonian's National Museum of African American History and Culture, which opened in 2016.

*ships or ready for pick up in 7-10 business days*

Black people, and especially Black women, suffer and die from diseases at much higher rates than their white counterparts. The vast majority of these health disparities are not attributed to behavioral differences or biology, but to the pervasive devaluation of Black bodies.

Womanist Bioethics addresses this crisis from a bioethical standpoint. It offers a critique of mainstream bioethics as having embraced the perspective of its mainly white, male progenitors, limiting the extent to which it is positioned to engage the issues that particularly affect vulnerable populations. This book makes the provocative but essential case that because African American women– across almost every health indicator– fare worse than others. We must not only include, but center, Black women’s experiences and voices in bioethics discourse and practice.

To this end, Womanist Bioethics develops the first specifically womanist form of bioethics, focused on the diverse vulnerabilities and multiple oppressions that women of color face. This innovative womanist bioethics is grounded in the Black Christian prophetic tradition, based on the ideas that God does not condone oppression and that it is imperative to defend those who are vulnerable. It also draws on womanist theology and Black liberation theology, which take similar stances. At its core, the volume offers a new, broad-based approach to bioethics that is meant as a corrective to mainstream bioethics’ privileging of white, particularly male, experiences, and it outlines ways in which hospitals, churches, and the larger community can better respond to the healthcare needs of Black women.

“Through honest stories and inspiring lessons from her life, A’ja Wilson reminds us to never doubt who we are or apologize for being true to ourselves. Dear Black Girls is a must-read for every Black girl out there.” ―Gabrielle Union This one is for all the girls with an apostrophe in their names. This is for all the girls who are labeled “too loud” and “too emotional.” This is for all the girls who are constantly asked, “Oh, what did you do with your hair? That’s new.” This is for my Black girls. Despite gold medals, WNBA championships, and a list of accolades, A’ja Wilson knows how it feels to be swept under the rug―to not be heard, to not feel seen, to not be taken seriously. As a fourth grader going to a primarily white school in South Carolina, A’ja was told she’d have to stay outside for a classmate’s birthday party. “Huh?” she asked. Because the birthday girl’s father didn’t like Black people. Wilson tells stories like this, about how even when life tried to hold her down, it didn’t stop her. She shares her contribution to “The Talk,” and how to keep fighting, all while igniting strength, passion, and joy. Dear Black Girls is a necessary and meaningful exploration of what it means to be a Black woman in America today―and a rallying cry to lift up women and girls everywhere. “ D ear Black Girls is filled with phenomenal stories and empowering insight on what it means to be a woman in today’s world. I didn’t want to put it down.” ―Tunde Oyeneyin, New York Times bestselling author of Speak

Join us to celebrate Tia Williams' newest release, A Love Song for Ricki Wilde!

EVENT DEETS

When: Tuesday, February 20 @7PM

Where: STAGES (800 Rosine Street, HTX, 77019)

How: Grab your tickets! Each ticket will come with a signed copy of A Love Song for Ricki Wilde. No refunds. 

ABOUT THE BOOK

In this enchanting love story from the New York Times bestselling author of Seven Days in June, a free-spirited florist and an enigmatic musician are irreversibly linked through the history, art, and magic of Harlem.

Leap years are a strange, enchanted time. And for some, even a single February can be life-changing.

Ricki Wilde has many talents, but being a Wilde isn’t one of them. As the impulsive, artistic daughter of a powerful Atlanta dynasty, she’s the opposite of her famous socialite sisters. Where they’re long-stemmed roses, she’s a dandelion: an adorable bloom that’s actually a weed, born to float wherever the wind blows. In her bones, Ricki knows that somewhere, a different, more exciting life awaits her.

When regal nonagenarian, Ms. Della, invites her to rent the bottom floor of her Harlem brownstone, Ricki jumps at the chance for a fresh beginning. She leaves behind her family, wealth, and chaotic romantic decisions to realize her dream of opening a flower shop. And just beneath the surface of her new neighborhood, the music, stories and dazzling drama of the Harlem Renaissance still simmers.

One evening in February as the heady, curiously off-season scent of night-blooming jasmine fills the air, Ricki encounters a handsome, deeply mysterious stranger who knocks her world off balance in the most unexpected way.  

Set against the backdrop of modern Harlem and Renaissance glamour, A Love Song for Ricki Wilde is a swoon-worthy love story of two passionate artists drawn to the magic, romance, and opportunity of New York, and whose lives are uniquely and irreversibly linked. 

ABOUT THE AUTHOR

Presented in partnership with Project Row Houses and The Black Man Project

Join us for a virtual author talk in celebration of Jason Wilson's newest book, Battle Cry. This conversation will be moderated by The Black Man Project and presented in partnership with Project Row Houses

Event Deets:

When: Tuesday, September 21 at 7:00 pm CST

Where: Virtual via Crowdcast

How:  Registration is required by adding a ticket to your cart and checking out.  You have the option to grab a ticket for free, make a donation with your ticket, or purchase the book together with the ticket. 

We hope to see you there!

About the Book:

For decades, Jason Wilson tried his best to "be a man" but struggled to express the full range of human emotions because the only ones he felt comfortable expressing were the traditional "masculine" emotions--anger, aggression, and boldness. This went on until he finally released years of past trauma to attain the healing he needed to become a better man, husband, father, and leader. Learning how to master his emotions and verbally process them transformed Jason's life and relationships in ways he never could have imagined. He now seeks to expose the lies that many men have been deceived to believe about manhood and bring healing to their lives.

Battle Cry will teach men how to wage and win the war within themselves--unlearning society's definition of masculinity and empowering them with the tools needed to freely live from their hearts instead of their fears. Wilson shows readers how to

• win internal battles before they turn into external wars;
• master their emotions instead of being ruled by them;
• release trauma from their past so they can live fully to their potential in the present; and
• communicate more effectively with the people in their lives.

About the Moderators:

The Black Man Project explores the origins of how misconceptions such as one-dimensional expression and emotional inaccessibility have come to be. We specifically explore the complexity of African American masculinity for young boys and simultaneously create safe spaces for black young men to engage in dialogue that grants space that nurtures healing, wholeness, leadership, accountability, and brotherhood.

To learn more about The Black Man Project visit www.theblackmanproject.com.

About Project Row Houses:

Project Row Houses is a community platform that enriches lives through art with an emphasis on cultural identity and its impact on the urban landscape. We engage neighbors, artists, and enterprises in collective creative action to help materialize sustainable opportunities in marginalized communities.

Project Row Houses occupies a significant footprint in Houston’s Historic Third Ward, one of the city’s oldest African-American neighborhoods. The site encompasses five city blocks and houses 39 structures that serve as home base to a variety of community-enriching initiatives, art programs, and neighborhood development activities. PRH programs touch the lives of under-resourced neighbors, young single mothers with the ambition of a better life for themselves and their children, small enterprises with the drive to take their businesses to the next level, and artists interested in using their talents to understand and enrich the lives of others. Although PRH’s African-American roots are planted deeply in Third Ward, the work of PRH extends far beyond the borders of a neighborhood in transition. The Project Row Houses model for art and social engagement applies not only to Houston, but also to diverse communities around the world.

To learn more or to make a donation to Project Row Houses visit www.projectrowhouses.org