African American English

Black women are the hidden figures in the church. Despite at times being rendered invisible, uninvited, and unprotected in a racist and sexist world, they are valued image-bearers and influential instruments in God’s redemptive plan. Church Girl invites you, as a Black woman, on a journey from the garden to the present day. Your unique story as a Black woman lies within the grand narrative of Scripture, and the message of the gospel is the light, lens, and love you need to help you see and live as God intends.

Jacob is an Anglo-Dutch trader and adventurer, with a small holding in the harsh north. Despite his distaste for dealing in "flesh," he takes a small slave girl in part payment for a bad debt from a plantation owner in Catholic Maryland. This is Florens, "with the hands of a slave and the feet of a Portuguese lady." Florens looks for love, first from Lina, an older servant woman at her new master's house, but later from a handsome blacksmith, an African, never enslaved.

In weekly phone calls to his daughter in Australia, widower Hubert Birdpaints a picture of the perfect retirement, packed with fun, friendship, and fulfillment. But it's a lie. In reality, Hubert's days are all the same, dragging on without him seeing a single soul. Until he receives some good news - good news that in one way turns out to be the worst news ever, news that will force him out again, into a world he has long since turned his back on.

Personal and prophetic, these essays uncover what it means to live in a racist American society with insights that feel as fresh today as they did over the four decades in which he composed them. Longtime Baldwin fans and especially those just discovering his genius will appreciate this essential collection of his great nonfiction writing. Along with 46 additional pieces, it includes the full text of dozens of famous essays from such books as:

A booksmart kid from Toronto, Eternity Martis was excited to move away to Western University for her undergraduate degree. But as one of the few Black students there, she soon discovered that the campus experiences she'd seen in movies were far more complex in reality. Over the next four years, Eternity learned more about what someone like her brought out in other people than she did about herself. She was confronted by White students in blackface at parties, dealt with being the only person of colour in class and was tokenized by her romantic partners.

Betty Jean already has her hands full when her grown daughter leaves her two young sons in her care. In between dealing with her other adult children, two opinionated sisters, an ill husband, and her own postponed dreams - BJ still manages to hold down a job delivering room service at a hotel. Her son Dexter is about to be paroled from prison; Quentin, the family success, can’t be bothered to lend a hand; and taking care of two lively grandsons is the last thing BJ thinks she needs. But who asked her?

Queenie Jenkins is a 25-year-old Jamaican British woman living in London, straddling two cultures and slotting neatly into neither. She works at a national newspaper, where she’s constantly forced to compare herself to her white middle-class peers. After a messy breakup from her White long-term boyfriend, Queenie seeks comfort in all the wrong places...including several hazardous men who do a good job of occupying brain space and a bad job of affirming self-worth.

From its founding in 1966 to contemporary attempts to censure its history and revise its significance, the Black Panther party has aroused fear, hope, pride, vilification, and government-sponsored oppression. This is the first and only collection of the most vital, representative writings of the party. Here are Huey P. Newton, Bobby Seale, Eldridge Cleaver, David Hilliard, and Fred Hampton; Kathleen Cleaver and other Panther women; the party's court battles and acquittals; its positions on black separatism, the power structure, the police, violence, education, and more.

“The People Could Fly,” the title story in Virginia Hamilton’s prize-winning American Black folktale collection, is a fantasy tale of the slaves who possessed the ancient magic words that enabled them to literally fly away to freedom. And it is a moving tale of those who did not have the opportunity to “fly” away, who remained slaves with only their imaginations to set them free as they told and retold this tale.

Young Lensinda Martin is a protegee of a crusading Black journalist in mid-18th century southwestern Ontario, finding a home in a community founded by refugees from the slave-owning states of the American south—whose agents do not always stay on their side of the border. One night, a neighboring farmer summons Lensinda after a slave hunter is shot dead on his land by an old woman recently arrived via the Underground Railroad. When the old woman, whose name is Cash, refuses to flee before the authorities arrive, the farmer urges Lensinda to gather testimony from her before Cash is condemned.

“The problem of the twentieth century is the problem of the color line,” writes Du Bois, in one of the most prophetic works in all of American literature. First published in 1903, this collection of 15 essays dared to describe the racism that prevailed at that time in America—and to demand an end to it. Du Bois’ writing draws on his early experiences, from teaching in the hills of Tennessee, to the death of his infant son, to his historic break with the conciliatory position of Booker T. Washington.

Throughout history, the concept of Blackness has been remarkably intertwined with another color: blue. In daily life, it is evoked in countless ways. Blue skies and blue water offer hope for that which lies beyond the current conditions. But blue is also the color of deep melancholy and heartache, echoing Louis Armstrong’s question, “What did I do to be so Black and blue?” In this book, celebrated author Imani Perry uses the world’s favorite color as a springboard for a riveting emotional, cultural, and spiritual journey.

Yejide and Akin have been married since they met and fell in love at university. Though many expected Akin to take several wives, he and Yejide have always agreed: Polygamy is not for them. But four years into their marriage - after consulting fertility doctors and healers, trying strange teas and unlikely cures - Yejide is still not pregnant. She assumes she still has time - until her family arrives on her doorstep with a young woman they introduce as Akin's second wife.

Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality - the dangers experienced in skin and body and blood - and a diagnosis of HIV positive. "Some of us are killed / in pieces", Smith writes, "some of us all at once."

Yetu holds the memories for her people - water-dwelling descendants of pregnant African slave women thrown overboard by slave owners - who live idyllic lives in the deep. Their past, too traumatic to be remembered regularly, is forgotten by everyone, save one - the historian. This demanding role has been bestowed on Yetu. Yetu remembers for everyone, and the memories, painful and wonderful, traumatic and terrible and miraculous, are destroying her. And so, she flees to the surface, escaping the memories, the expectations, and the responsibilities.

If you can count on one thing from "Madea" Mabel Simmons, star of Diary of a Mad Black Woman and Madea's Family Reunion, it's that she's got something to say. She's the beloved, hilarious, sharp-witted, pistol-packing grandmother who's watching out and speaking her mind. Now Madea is telling her own story, dishing her memoirs and hard-won, hilarious wisdom in her own inimitable voice (with a little help from her friend Tyler Perry).

To understand the contemporary racial wealth gap, we must first unpack the historic attacks on Indigenous and Black land ownership. From the moment that colonizers set foot on Virginian soil, a centuries-long war was waged, resulting in an existential dilemma: Who owns what on stolen land? Who owns what with stolen labor? To answer these questions, we must confront one of this nation’s first sins: stealing, hoarding, and commodifying the land.

In this book, Katrina Hazzard-Donald explores African Americans' experience and practice of the herbal, healing folk belief tradition known as Hoodoo. Working against conventional scholarship, Hazzard-Donald argues that Hoodoo emerged first in three distinct regions she calls "regional Hoodoo clusters" and that after the turn of the 19th century, Hoodoo took on a national rather than regional profile.

In the winter of 1926, when everybody everywhere sees nothing but good things ahead, Joe Trace, middle-aged door-to-door salesman of Cleopatra beauty products, shoots his teenage lover to death. At the funeral, Joe’s wife, Violet, attacks the girl’s corpse. This novel “transforms a familiar refrain of jilted love into a bold, sustaining time of self-knowledge and discovery. Its rhythms are infectious” (People).

Twenty-five year old Calla Williams is struggling since becoming guardian to her brother, Jamie. Calla is overwhelmed and tired of being the one who makes sacrifices to keep the family together. When Jamie’s actions at a protest spiral out of control, the siblings must go on the run. Taking refuge in a remote cabin that looks like it belongs on a slasher movie poster rather than an AirBNB, the siblings now face a new threat where their lives–and reality–hang in the balance. Their sister always warned them about her nightmares. They really should have listened.