100 books like In Every Mirror She's Black

I think Adunni might be one of my favorite heroines of all time. She’s so brave, loveable, and vulnerable. This book opened my eyes to what it’s like to live in some of the most difficult conditions imaginable, but it made me so hopeful, too. Adunni’s rebel spirit propelled me through the pages.

In a way, this book made me feel ten years old again–when I was reading, it was as though nothing beyond the book existed. Every time Adunni triumphed, I wanted to stand up and cheer. Most of all, it made me feel I could do my bit to change the world. I know that there are real children facing forced marriage, like Adunni. This book made me want to raise my voice and help.

Though I felt too raw after George Floyd’s death in the summer of 2020 to read about the shattered dreams of an enslaved woman, there was something about Pheby Brown’s story that I found intriguing.

I had spent the last few weeks reading various novels about wives. Enslaved at birth, Pheby is promised her freedom on her 18th birthday but instead is forced to become the mistress to the jailer at a place where slaves are broken, tortured, and sold every day.

I loved how Phebe’s ability to create these beautiful designs with her sewing enabled her to protect her heart and those she loved. I was inspired by her strength and perseverance in the face of the brutality of slavery.

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.

Set in Georgia in 1958, Tang Mae is the darkest of ten fatherless children and considered by her mother the ugliest. However, she is selected to attend a white school because she is gifted. This gives her an opportunity to change her life, but she must first break free from her mother's grasp.

There were many times I wanted to put this book down and not finish it. The brutality and abuse were hard to bear. And yet, I felt compelled to read the entire thing because I wanted to see Tang Mae succeed.

It inspired me that she never gave up on her dream of completing her education despite all the abuse and loss she experienced. I spent a lot of time thinking about this book long after I read it.  

Heart of the Race is the single most important text of British black feminism. First published in 1985, the book captures the collective experience of black women in Britain and its colonies, highlighting how the long history of slavery and empire, and women’s resistance to them, continues into the present with struggles over healthcare, education, migration, and work. Coming out of the work of the pioneering Organisation of Women of African and Asian Descent, the book carefully traces the ways that race, class, and gender are structured together in the lives of African-Caribbean women – what activists would today call “intersectionality.” The power of the book lies in the clarity of its analysis as well as its long extracts from the authors’ interviews with black women.

While the Black freedom struggle is often approached through the activism of Black males, the history of the struggle in Europe—like in the United States and elsewhere in the world—owes much to Black women, Black female scholar-activists, and Black feminist and Queer networks. Yet they remain woefully underrepresented in scholarship and collective memory.

I, therefore, chose this edited volume, because it uniquely presents the stories, intersectional experiences, and visions of contemporary Black female activists, artists, and scholars from across the continent. This not only uncovers the significant intellectual, political, social, and cultural contributions of Black women, but also expands definitions of (political) activism to include, among others, motherhood and the home.

Dabiri’s use of history and personal storytelling to deconstruct and illuminate the long story of Black hair is crucial in that it allows readers to understand that our Black hair has history. The movement against natural Black hair is rooted in the Transatlantic Slave Trade, and our own structures of government have always backed the anti-blackness that criminalized, scapegoated, or invisibilized our hair; this book celebrates our natural hair but also serves as historical education, which is so important if we’re to see natural Black hair not as a stylish trend but as a necessary part of our liberation. Dabiri reminds us that, while our hair is so often used as a weapon against us, it also has the power to liberate us.

This book is reminiscent of Jean Toomer’s Cane. It blurs the lines between poetry, history, and the blues. Shakespeare’s Dark Lady sonnets are at the heart of a book that is both breathtaking and spellbinding. But more than that, this book is a reclamation of the Black female body. Over the centuries the Black female body has been defined by everyone but the Black female. Williams redefines notions of beauty, dignity, and self-worth in a world that is antithetical to the Black female body. This book is a salvo across the bough of social, racial, and political history that has dehumanized Black life throughout the centuries. Not only does Williams, a Nashville native, reclaim all that has been distorted about the Black female body, she celebrates it as well.

Erika Edwards decenters the study of the African diaspora in Argentina from Buenos Aires by studying Cordoba, at the geographic heart of this country. The author employs gender as a structuring category of understanding conceptions of race, as she examines the actions of Black women who shaped their own sexual experiences and marriage patterns, creating new forms of identity based on the changing conceptions of race and law at the time, as Argentina was transitioning from colony to nation. In doing so, Edwards charters a process beginning in nineteenth-century Cordoba, which then became one of the keys to understanding a gendered conception of Blackness in modern Argentina. 

Every panel of Hot Comb is full of music and movement. The dialogue is so perfectly observed it's like sitting on a park bench with a good old friend and overhearing conversations as they pass by. Some of the stories are directly autobiographical I think, and some are not, but they all feel very real and the dynamics of the relationships very familiar. A beautiful and sharp book about small personal everyday things and how huge and political they really are.