I have been drawn to stories where I see aspects of myself in the characters since I was an adolescent and found comfort in the pages of Judy Blume's Are You There God? It's Me, Margaret. As a Black woman, I find validation and encouragement in novels where other Black women navigate life's obstacles to reach the desires of their hearts. It makes my life feel more manageable, knowing that I am not alone in the face of fear, loneliness, and self-doubt or more challenging social issues like racism, sexism, and classism. These stories give me hope and insight as I journey toward living life to its fullest.
I was drawn to this book by the cover. Set in New York, famous erotica writer Eva Mercy is a single mom with a depilating auto-immune disease. Eva’s experiences of the writing life as a Black woman and how she managed her health drew me to her.
However, the unexpected connection between Eva and Shane, the award-winning literary writer she reunites with during a literary event, was my favorite part of this book. I loved how each writer’s trauma-informed the stories they told. I found myself encouraged to write about my own traumas in my stories. But what I loved the most about this book is how the sensual scenes between Eva and Shane were more about connection than sex.
I was inspired by Eva’s resoluteness in making a life for herself and being the mother she never had for herself and her daughter.
The instant New York Times bestseller and Reese Witherspoon book club pick is "a heady combination of book love and between-the-sheets love.” (Ruth Ware)
“Tia Williams’s book is a smart, sexy testament to Black joy, to the well of strength from which women draw, and to tragic romances that mature into second chances. I absolutely loved it.” —JODI PICOULT, #1 New York Times bestselling author of The Book of Two Ways and Small Great Things
Seven days to fall in love, fifteen years to forget, and seven days to get it all back again...
Good question. Why would a white guy be passionate about nineteenth-century African American community building and activism? It’s a long story, but the short version is that by the time I reached graduate school, I could no longer avoid the realization that I had been dramatically miseducated about American history, and that the key to American history—one important key, anyway—is African American history. You can’t understand what it means to be an American if you don’t know this history, and you can’t understand our own very troubled times, or how to respond to these times, how to turn frustration into action, unless you know this history. So I developed my expertise over the years.
If you think that literary societies have nothing to do with African American community activism, then this book will make you think again. African Americans were excluded from schools, libraries, and most of the usual publishing outlets—but they still developed a vibrant culture that produced newspapers, pamphlets, and books, and they developed libraries and literary societies committed to reading these and other productions. McHenry expertly guides us through this relatively unknown but central culture of reading, tracing the rise of African American literary societies, the work of the Black Press, and the vital connection between reading, writing, and social reform efforts. These efforts were supported by broader African American organizational efforts, the creation of churches and mutual aid societies that provided refuge for readers and forums for writers, and McHenry explores the social and intellectual networks that developed from these efforts, as African Americans read their way to new visions…
Over the past decade the popularity of black writers including E. Lynn Harris and Terry McMillan has been hailed as an indication that an active African American reading public has come into being. Yet this is not a new trend; there is a vibrant history of African American literacy, literary associations, and book clubs. Forgotten Readers reveals that neglected past, looking at the reading practices of free blacks in the antebellum north and among African Americans following the Civil War. It places the black upper and middle classes within American literary history, illustrating how they used reading and literary conversation…
As a historian with expertise in the early church, Middle Ages, and Reformation, I am obsessed with finding the writings and stories of women of the past. Whenever we discover works written by an unknown or forgotten woman in an archive or historical record, my co-author Marion Taylor and I excitedly email one another: “We rescued another woman!” I study the history of biblical interpretation and the history of women in religion. In most of my books, these two interests intersect—as I write about men throughout history who viewed stories of biblical women through patriarchal lenses and how women themselves have been biblical interpreters, often challenging men’s prevailing views.
Drawing upon her expertise in African American literature, Katherine Clay Bassard writes about the ways Black women poets, novelists, preachers, and orators from the 1700s through the 1900s used biblical themes and images to challenge the dominant culture’s oppression of women and people of color. African American women used a variety of scriptural images, including the Queen of Sheba and the “black but comely” female speaker in the Song of Songs, to argue for Black women’s dignity. Bassard celebrates African American women’s creativity and their shrewd employment of scriptural passages to engage in resistance to racism and sexism.
Black women writers reclaim the sacred text. ""Transforming Scriptures"" is the first sustained treatment of African American women writers' intellectual, even theological, engagements with the book ""Northrup Frye"" referred to as the 'great code' of Western civilization. Katherine Clay Bassard looks at poetry, novels, speeches, sermons, and prayers by Maria W. Stewart, Frances Harper, Hannah Crafts, Harriet E. Wilson, Harriet Jacobs, Zora Neale Hurston, Toni Morrison, and Sherley Anne Williams and discusses how such texts respond as a collective 'literary witness' to the use of the Bible for purposes of social domination. Black women's historic encounters with the Bible were,…
I experienced severe trauma at an early age in life, which involved numerous challenges that tested my resilience and inner strength. However, through perseverance, self-reflection, and seeking support, I was able to overcome these obstacles and emerge stronger than ever. My experiences have taught me the importance of resilience, the power of healing, and the transformative impact of sharing stories, including the messy ones. I believe that by recommending books that explore these themes, I can inspire and empower others who may be facing similar challenges to find hope, resilience, and a path toward healing.
I recommend this book for its raw honesty, reflections, and unflinching exploration of personal and societal struggles. Laymon's fearless approach to storytelling digs deep into themes of identity, trauma, and resilience, resonating deeply with the narrative depth of my true crime memoir.
Through Laymon's journey of self-discovery and reckoning with the complexities of American life, readers gain profound insights into the human experience, confront uncomfortable truths, and find moments of profound clarity and connection.
*Named a Best Book of the Year by the New York Times, Publishers Weekly, NPR, Broadly, Buzzfeed (Nonfiction), The Undefeated, Library Journal (Biography/Memoirs), The Washington Post (Nonfiction), Southern Living (Southern), Entertainment Weekly, and The New York Times Critics*
In this powerful, provocative, and universally lauded memoir—winner of the Andrew Carnegie Medal and finalist for the Kirkus Prize—genre-bending essayist and novelist Kiese Laymon “provocatively meditates on his trauma growing up as a black man, and in turn crafts an essential polemic against American moral rot” (Entertainment Weekly).
In Heavy, Laymon writes eloquently and honestly about growing up a hard-headed black son…
I am a theater historian whose research focuses on African American theater of 1940s-50s. While other periods and movements—the Harlem Renaissance (1920s), the Federal Theatre Project (1930s), the Black Arts Movement (1960s), and contemporary theater—have been well studied and documented, I saw a gap of scholarship around the 1940s-50s; I wondered why those years had been largely overlooked. As I dived deeper, I saw how African American performance culture (ie. theater, film, television, music) of the later-20th Century had its roots in the history of those somewhat overlooked decades. I’m still investigating that story, and these books have helped me do it.
We tend to think about the Black Arts Movement of the 1960s as dominated by militant male voices. This book explores the rich contributions of black women artists to the movement—by amplifying the voices of women artists in their own words. The book is a collection of oral histories, drawing on dozens of interviews with influential Black women artists. Some of them are recognizable, like playwrights/poets Sonia Sanchez and Ntozake Shange. Others are less familiar names whose influence should be appreciated more fully. This is a rich celebration of the impact of women artists during a key period of African American cultural change.
The first oral history to fully explore the contributions of black women intellectuals to the Black Arts Movement, Sistuhs in the Struggle reclaims a vital yet under-researched chapter in African American, women's, and theater history. This groundbreaking study documents how black women theater artists and activists-many of whom worked behind the scenes as directors, designers, producers, stage managers, and artistic directors-disseminated the black aesthetic and emboldened their communities.
Drawing on nearly thirty original interviews with well-known artists such as Ntozake Shange and Sonia Sanchez as well as less-studied figures including distinguished lighting designer Shirley Prendergast, dancer and choreographer Halifu Osumare,…
I care about social justice, equality, and history, as well as beauty and art. As an African-American woman who was raised working class and who understands how history informs the present, I have fallen in love with the depiction of history in poetry and prose. Not all of my writing has something to do with race or gender or class, but all of my writing is about justice in some way. I want to get to the good of people.
This book mixes personal poetry and history and art and space. It is a wonder! Smith looks at the Hubble Telescope and all of its marvels along with one of its engineers, her father Floyd Smith.
Smith mixes stars, David Bowie, mass shootings, love, racism, sexism all in this poetry collection and somehow, it works. It more than works. It explodes!
I don’t know if this work has much to do with my own; there is history, yes, and there is social commentary. But mostly, there is excellent poetry that is exemplary for any poet writing today.
In this brilliant collection of new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant and revisits kitschy concepts like 'love' and 'illness', now relegated to the museum of obsolescence. With allusions to David Bowie and interplanetary travel, Life on Mars imagines a soundtrack for the universe, accompanying the discoveries, failures and oddities of human existence and establishing Smith as one of the best poets of her generation.
Raised by activist feminist parents and schooled by Quakers, I am surprisingly amusing. Eartha Kitt once held my left hand for five minutes. I work primarily as a playwright; Not a Cat is my first children’s book! Now when I show up at a little kid’s birthday instead of bringing a play I wrote, I can give the tot age-appropriate reading material. For me, reading a memoir is this intimate exchange with a writer where they’ve shared everything, and I’ve revealed nothing. What’s better than a good story beautifully curated? Okay, a cookie, but that’s it. I hope my book reaches all the kids out there who are told: be less this and more that.
This one is a true outlier, because I don’t know Brian Broome, but after reading his incredible memoir, I wish I did because he’s an amazing human and a wonderful storyteller. His book is dealing with blackness, queerness and the expectations surrounding black manhood and his struggle to reject violence in favor of love and ultimately, of self-love as well. I haven’t seen him up close, but in photos, he totally looks super pretty, so he has that in common with every one of these authors. I loved his book and can’t wait for his next.
WINNER OF THE KIRKUS PRIZE • A NEW YORK TIMES NOTABLE BOOK • A NEW YORK TIMES EDITORS' PICK • NAMED A BEST BOOK OF THE YEAR BY PUBLISHERS WEEKLY, KIRKUS REVIEWS, LIBRARY JOURNAL, AMAZON AND APPLE BOOKS • A TODAY SUMMER READING LIST PICK • AN ENTERTAINMENT WEEKLY BEST DEBUT OF SUMMER PICK • A PEOPLE BEST BOOK OF SUMMER PICK
A raw, poetic, coming-of-age “masterwork” (The New York Times) about Blackness, masculinity and addiction
“Punch Me Up to the Gods obliterates what we thought were the limitations of not just the American memoir, but the possibilities of the…
I am an African Australian writer and have a deep passion for black people's stories. I write across genres and forms, and my award-winning works are mostly Afrocentric. I have a master's degree in distributed computer systems, with distinction, a master's degree in creative writing, and a PhD in creative writing. I am especially curious about unique voices in black speculative fiction in transformative stories of culture, diversity, climate change, writing the other, and betwixt. I am an author of several novels and fiction collections, and a finalist in the 2022 World Fantasy Award. I was announced in the honor list of the 2022 Otherwise Fellowships for ‘doing exciting work in gender and speculative fiction’.
Dominion is a unique black speculative fiction that integrates stories from prominent voices from Africa and the diaspora, including Suyi Davies Okungbowa, Dare Segun Falowo, Mame Bougouma Diene, Dilma Dila, and more. Featuring a foreword by Tananarive Due, the award-winning anthology offers African spirituality, magical realism, Afrofuturistic stories, dystopian worlds and tales that confront in many ways colonialism, social injustice, and capitalism.
Dominion is the first anthology of speculative fiction and poetry by Africans and the African Diaspora. An old god rises up each fall to test his subjects. Once an old woman's pet, a robot sent to mine an asteroid faces an existential crisis. A magician and his son time-travel to Ngoni country and try to change the course of history. A dead child returns to haunt his grieving mother with terrifying consequences. Candace, an ambitious middle manager, is handed a project that will force her to confront the ethical ramifications of her company's latest project—the monetization of human memory. Osupa,…
I have been writing and teaching about African American poetry and poetics for more than two decades. My passion began when I kept discovering long-lost poems that were published once, in Black newspapers, and then forgotten. I wondered why I had never learned about Gwendolyn Brooks in school, though I’d read about e.e. cummings and Robert Frost. Once I stumbled on the fact that Claude McKay discovered cummings, I realized how much the questions of influence and power aren’t really central topics in thinking about the genealogy of Black poets and their influence on each other and on poetry in general.
Kevin Young’s anthology is the latest in a long line of Black poetry anthologies; the first was James Weldon Johnson’s Book of American Negro Poetry (1922), which Young duly acknowledges. Most of Young’s choices I agree with; some I don’t (at least one of Paul Laurence Dunbar’s great sonnets should have been included); but in the main it is a terrific anthology of poets historical up to the present day. I counted almost 40 sonnets among the poems included. Readers who are interested in the dates the poems were published can turn to an extensive set of notes in the back, which are really helpful.
A literary landmark: the biggest, most ambitious anthology of Black poetry ever published, gathering 250 poets from the colonial period to the present
Across a turbulent history, from such vital centers as Harlem, Chicago, Washington, D.C., Los Angeles, and the Bay Area, Black poets created a rich and multifaceted tradition that has been both a reckoning with American realities and an imaginative response to them. Capturing the power and beauty of this diverse tradition in a single indispensable volume, African American Poetry reveals as never before its centrality and its challenge to American poetry and culture.
I love stories and storytelling of all kinds – from YA to memoir to journalism to children's picture books. If there is a story worth telling I will pursue it, regardless of genre. I'm particularly fascinated by stories that are out of the mainstream, are hidden, or come from people and cultures at the intersections of place, race, and gender. See No Color, about a mixed Black girl adopted into a white family, was my first YA novel, and it was followed by Dream Country, which chronicles five generations of a Liberian and Liberian American family. I co-edited an anthology on BIPOC women's experiences with miscarriage and infant loss, What God Is Honored Here?
My love affair with Octavia Butler began early when I encountered her short story collection, Bloodchild, in college. I was so taken with the questions she was asking about the nature of being human, our seemingly innate need to form a hierarchy and dominate others, and possibilities for freedom and transformation. The best part was that she did it all through a sci-fi lens...one that she infused with a distinctly Black feminist perspective. I had never read anything like it. And now, we finally have a biography for young people (and really for everyone) about her life, her mind, and preoccupations as a young woman. Ibi Zoboi has deftly penned what she is calling a "biographical constellation" of a young Butler, written primarily in short poems, but also including micro-essays on the social context of her youth, and copies of some of her first writings. Anyone with an imagination…
From the New York Times bestselling author and National Book Award finalist, a biography in verse and prose of science fiction visionary Octavia Butler, author of Parable of the Sower and Kindred.
Acclaimed novelist Ibi Zoboi illuminates the young life of the visionary storyteller Octavia E. Butler in poems and prose. Born into the Space Race, the Red Scare, and the dawning Civil Rights Movement, Butler experienced an American childhood that shaped her into the groundbreaking science-fiction storyteller whose novels continue to challenge and delight readers fifteen years after her death.
