African American Families

This epic work tells the story of the Hemingses, whose close blood ties to our third president had been systematically expunged from American history until very recently. Now, historian and legal scholar Annette Gordon-Reed traces the Hemings family from its origins in Virginia in the 1700s to the family's dispersal after Jefferson's death in 1826. It brings to life not only Sally Hemings and Thomas Jefferson but also their children and Hemings's siblings, who shared a father with Jefferson's wife, Martha.

Contains the complete Fold series: Thou Shall Not Run, Thou Shall Not Hide, and Thou Shall Not Fear.

In God Don't Like Ugly, she weaves a powerful tale of devastating abuse, the strength of friendship, and the burden of terrible secrets. Shy, overweight Annette Goode is only seven years old when Mr. Boatwright, a boarder in her house, begins sexually abusing her. She keeps this information to herself for years, until gorgeous, self-assured Rhoda Nelson becomes her new friend. Annette confides in Rhoda and finds the strength and courage to survive to adulthood.

Travel back to a small Southern town where, before there was Duncan Motors, there were the Duncan brothers: Louis, aka Sweet Lou, a lover of ladies and life and a man you did not want to cross; Lawrence, aka Larry, a screw-up as attracted to trouble as it was to him; and Lavernius, better known as LC, the soft-spoken college boy who simply wanted to sell cars.

Jende Jonga, a Cameroonian immigrant living in Harlem, has come to the United States to provide a better life for himself; his wife, Neni; and their six-year-old son. In the fall of 2007, Jende can hardly believe his luck when he lands a job as a chauffeur for Clark Edwards, a senior executive at Lehman Brothers. Clark demands punctuality, discretion, and loyalty - and Jende is eager to please. Clark's wife, Cindy, even offers Neni temporary work at the Edwardses' summer home in the Hamptons.

She's the only sister in a family of alpha males. Loved, treasured, and sheltered by her brothers, Kat McClain is working to heal the pain of a failed marriage to a man she loved from her teenage years and move on with her life, but she's a woman; she has needs, and she's understandably lonely. Tommy Kirby has protected her brother since he was barely a man and has been a silent staple in the McClain family for just as long. He loves his job, his life, and is loyal to his employer. More than anything, he wants a family of his own. Perhaps these two are exactly what the other desires.

At 40, Lena Baker is at a steady and stable moment in life—between wine nights with her two best friends and her wedding just weeks away, she’s happy in love and in friendship—until a confession on her wedding day shifts her world.

From one of Britain's most celebrated writers of color, Girl, Woman, Other is a magnificent portrayal of the intersections of identity and a moving and hopeful story of an interconnected group of black British women. Winner of the 2019 Booker Prize and short-listed for the Gordon Burn Prize, Girl, Woman, Other paints a vivid portrait of the state of post-Brexit Britain, as well as looking back to the legacy of Britain's colonial history in Africa and the Caribbean.

All hell has broken loose, and the McPhearson clan is right in the middle of the chaos. After finding out their beloved foster mother, Claudette McPhearson, was anything but the sweet old woman they thought her to be, Javon, Shanelle, and the rest of their siblings hit the ground running in order to keep the Syndicate operating and to keep themselves alive. That also means they have to lose some of the people they love the most.

Who is Ruth McBride Jordan? A self-declared "light-skinned" woman evasive about her ethnicity, yet steadfast in her love for her 12 Black children. James McBride, journalist, musician, and son, explores his mother's past, as well as his own upbringing and heritage, in a poignant and powerful debut, The Color of Water: A Black Man's Tribute to His White Mother.

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.

Annette Goode has finally found a man who loves her. But at a pre-wedding ceremony, her ugly past is revealed, and her world falls apart. When she reunites with her childhood sweetheart, it seems like everything might be fine - until her long-absent friend, who hides a deadly secret, comes back into Annette's life.

He's the type of man she should be running far away from. A man she has no business getting tangled with personally. And still, she wants him and all the intoxicating ways of his wild world. Giving away his heart was never part of the deal when it came to women. It was only supposed to be about pleasure. Nothing else and nothing more. He's in for a rude awakening when his world collides with a woman as bold, assertive, and determined as he is.

So begins award-winning poet DéLana R. A. Dameron’s debut novel, Redwood Court. The baby of the family, Mika Tabor spends much of her time in the care of loved ones, listening to their stories and witnessing their struggles. On Redwood Court, the cul-de-sac in the all-Black working-class suburb of Columbia, South Carolina, where her grandparents live, Mika learns important lessons from the people who raise her.

Vegas Duncan's release from prison is right on time for his older brother Junior's engagement to the voluptuous Sonya Brown. Unfortunately Junior's attempt at happiness comes to a screeching halt when Sonya's husband, the mysterious Brother X, and his army of Muslim hit men declare war on the Duncan clan. Duncan family patriarch LC Duncan has gone up against many foes in his time.

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?

He's hard, cold, and stubborn as a bull. He has no right to want to be with her. She's everything he's not. Warm, patient, and attentive. Yet, the two of them find themselves badly wanting each other. Neither of them has ever had the guts to tell each other how they truly feel. Will they get it together, or will she find comfort in the arms of someone else who's brave enough to steal her heart?

In 1850s South Carolina, an enslaved woman named Rose faced a crisis: the imminent sale of her daughter Ashley. Thinking quickly, she packed a cotton bag for her with a few items, and, soon after, the nine-year-old girl was separated from her mother and sold. Decades later, Ashley’s granddaughter Ruth embroidered this family history on the sack in spare, haunting language. Historian Tiya Miles carefully traces these women’s faint presence in archival records, and, where archives fall short, she turns to objects, art, and the environment to write a singular history of slavery.

In the early 1990s, Demetrius "Big Meech" Flenory and his brother, Terry "Southwest T", rose up from the slums of Detroit to build one of the largest cocaine empires in American history: the Black Mafia Family. They socialized with music mogul Sean "Diddy" Combs, did business with New York's king of bling Jacob "The Jeweler" Arabo, and built allegiances with rap superstars Young Jeezy and Fabolous. Yet even as BMF was attracting celebrity attention, its crew members struck fear in a city.

A story inside a story inside a story. A man visits his aging father in a nursing home, where his father writes the novel he imagines his son would write. Or is it the novel that the son imagines his father would imagine, if he were to imagine the kind of novel the son would write?