His brilliant and provocative essays made him the literary voice of the Civil Rights Era, and they continue to speak with powerful urgency to us today, whether in the swirling debate over the Black Lives Matter movement or in the words of Raoul Peck’s documentary “I Am Not Your Negro.” Edited by Nobel laureate Toni Morrison, the Library of America’s Collected Essays is the most comprehensive gathering of Baldwin’s nonfiction ever published.With burning passion and jabbing, epigrammatic wit, Baldwin fearlessly articulated issues of race and democracy and American identity in such famous essays as “The Harlem Ghetto,” “Everybody’s Protest Novel,” “Many Thousands Gone,” and “Stranger in the Village.”Here are the complete texts of his early landmark collections, Notes of a Native Son (1955) and Nobody Knows My Name (1961), which established him as an essential intellectual voice of his time, fusing in unique fashion the personal, the literary, and the political. “One writes,” he stated, “out of one thing only—one’s own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give.” With singular eloquence and unblinking sharpness of observation he lived up to his credo: “I want to be an honest man and a good writer.”The classic The Fire Next Time (1963), perhaps the most influential of his writings, is his most penetrating analysis of America’s racial divide and an impassioned call to “end the racial nightmare…and change the history of the world.” The later volumes No Name in the Street (1972) and The Devil Finds Work (1976) chart his continuing response to the social and political turbulence of his era and include his remarkable works of film criticism. A further 36 essays—nine of them previously uncollected—include some of Baldwin’s earliest published writings, as well as revealing later insights into the language of Shakespeare, the poetry of Langston Hughes, and the music of Earl Hines.

    California Cooper's third novel, is her most penetrating look yet at the challenges that generations of African Americans have had to overcome in order to carve out a home for themselves and their families. Set in Texas in the waning years of the Civil War, the novel tells the dramatic story of a remarkable heroine, Lifee, and her husband, Mor. When Emancipation finally comes to Texas, Mor, Lifee, and the extended family they create from other slaves who are also looking for a home and a future, set out in search of a piece of land they can call their own. In the face of constant threats, they manage not only to survive but to succeed--their crops grow, their children thrive, they educate themselves and others. Lifee and Mor pass their intelligence, determination, and talents along to their children, the next generation to surge forward. At once tragic and triumphant, this is an epic story that captures with extraordinary authenticity the most important struggle of the last hundred years.

    But when the teenage King mistakenly kills two white deputies during a botched raid on the DuMonts, the Tremains' fear of reprisal forces King to flee Louisiana. King thus embarks on an adventure that first takes him to France, where he fights in World War I as a member of the segregated 369th Battalion—in the bigoted army he finds himself locked in combat with American soldiers as well as with Germans. When he returns to America, he battles the Mob in Jazz Age Harlem, the KKK in Louisiana, and crooked politicians trying to destroy a black township in Oklahoma. King Tremain is driven by two principal forces: He wants to be treated with respect, and he wants to create a family dynasty much like the one he left behind in Louisiana. This is a stunning debut by novelist Guy Johnson that provides a true depiction of the lives of African-Americans in the early decades of the twentieth century.

    His historical importance is indisputable.” Here, in a Library of America volume edited by Nobel laureate Toni Morrison, is the fiction that established James Baldwin’s reputation as a writer who fused unblinking realism and rare verbal eloquence.His first novel, Go Tell It on the Mountain (1953), tells the story, rooted in Baldwin’s own experience, of a preacher’s son coming of age in 1930’s Harlem. Ten years in the writing, its exploration of religious, sexual, and generational conflicts was described by Baldwin as “an attempt to exorcise something, to find out what happened to my father, what happened to all of us.”Giovanni’s Room (1956) is a searching, and in its day controversial, treatment of the tragic self-delusions of a young American expatriate at war with his own homosexuality. Another Country (1962), a wide-ranging exploration of America’s racial and sexual boundaries, depicts the suicide of a gifted jazz musician and its ripple effect on those who knew him. Complex in structure and turbulent in mood, it is in many ways Baldwin’s most ambitious novel.Going to Meet the Man (1965) collects Baldwin’s short fiction, including the masterful “Sonny’s Blues,” the unforgettable portrait of a jazz musician struggling with drug addiction in which Baldwin came closest to defining his goal as a writer: “For, while the tale of how we suffer, and how we are delighted, and how we may triumph is never new, it must be heard. There isn’t any other tale to tell, it’s the only light we’ve got in all this darkness.”

    Now, in Fighting Words, Collins expands and extends the discussion of the "outsider within" presented in her earlier work, investigating how effectively Black feminist thought confronts the injustices African American women currently face.Collins takes on a broad range of issues -- poverty, mothering, white supremacy and Afrocentrism, the resegregation of American society by race and class, the ideas of Sojourner Truth and how they can serve as a springboard for more liberating social theory. Contrasting social theories that support unjust power relations of race, class, gender, and nation with those that challenge inequalities, Collins investigates why some ideas are granted the status of "theory" while others remain "thought". "It is not that elites produce theory while everyone else produces mere thought", she writes. "Rather, elites possess the power to legitimate the knowledge that they define as theory as being universal, normative, and ideal".Collins argues that because African American women and other historically oppressed groups seek economic and social justice, their social theories may emphasize themes and work from assumptions that are different from those of mainstream American society, generating new angles of vision on injustice. Collins also puts such oppositional social theory to the test: while the words of these theories may challenge injustice, do the ideas make a difference in the lives of the people they claim to represent?Throughout,Collins provides an essential understanding of how "outsiders" resist mainstream perspectives, and what the mainstream can learn from such "outsiders". Historically situated yet transcending the specific, Fighting Words provides a new interpretive framework for both thinking through and overcoming social injustice.

    With Native Son he gave us Bigger Thomas, still one of the most provocative and controversial characters in fiction. With Black Boy he offered a candid and searing depiction of racism and poverty in America. And now, forty years after his death, he has bestowed us with one of the finest collections of haiku in American literature.Wright became enamored of haiku at the end of his life, and in this strict, seventeen-syllable form he discovered another way of looking at the world. He rendered images of nature and humanity that raised questions and revealed strikingly fresh perspectives. The publication of this collection is not only one of the greatest posthumous triumphs of American letters but also a final testament to the noble spirit and enduring artistry of Richard Wright.