and Alice WalkerAs Jacob lies dying, he begins to write a letter to his only son, Isaac. They have not met or spoken in many years, and there are things that Isaac must know. Stories about his ancestral legacy in rural Arkansas that extend back to slavery. Secrets from Jacob's tumultuous relationship with Isaac's mother and the shame he carries from the dissolution of their family. Tragedies that informed Jacob's role as a father and his reaction to Isaac's being gay.But most of all, Jacob must share with Isaac the unspoken truths that reside in his heart. He must give voice to the trauma that Isaac has inherited. And he must create a space for the two to find peace. With piercing insight and profound empathy, acclaimed author Daniel Black illuminates the lived experiences of Black fathers and queer sons, offering an authentic and ultimately hopeful portrait of reckoning and reconciliation. Spare as it is sweeping, poetic as it is compulsively readable, Don't Cry for Me is a monumental novel about one family grappling with love's hard edges and the unexpected places where hope and healing take flight.

    from Middle English "wenchel," 1 a: a girl, maid, young woman; a female child.Tawawa House in many respects is like any other American resort before the Civil War. Situated in Ohio, this idyllic retreat is particularly nice in the summer when the Southern humidity is too much to bear. The main building, with its luxurious finishes, is loftier than the white cottages that flank it, but then again, the smaller structures are better positioned to catch any breeze that may come off the pond. And they provide more privacy, which best suits the needs of the Southern white men who vacation there every summer with their black, enslaved mistresses. It's their open secret.Lizzie, Reenie, and Sweet are regulars at Tawawa House. They have become friends over the years as they reunite and share developments in their own lives and on their respective plantations. They don't bother too much with questions of freedom, though the resort is situated in free territory–but when truth-telling Mawu comes to the resort and starts talking of running away, things change.To run is to leave behind everything these women value most–friends and families still down South–and for some it also means escaping from the emotional and psychological bonds that bind them to their masters. When a fire on the resort sets off a string of tragedies, the women of Tawawa House soon learn that triumph and dehumanization are inseparable and that love exists even in the most inhuman, brutal of circumstances–all while they are bearing witness to the end of an era.An engaging, page-turning, and wholly original novel, Wench explores, with an unflinching eye, the moral complexities of slavery.

    But as the line between idealism and violence becomes increasingly blurred, the friends are driven apart—one into the deepest peril, as the movement gathers inexorable force, and the other into the safety of exile in the American Midwest. There, pretending to be an exchange student, he falls in love with a social worker and settles into small-town life. Yet this idyll is inescapably darkened by the secrets of his past: the acts he committed and the work he left unfinished. Most of all, he is haunted by the beloved friend he left behind, the charismatic leader who first guided him to revolution and then sacrificed everything to ensure his freedom.

    Told through the eyes of Tish, a nineteen-year-old girl, in love with Fonny, a young sculptor who is the father of her child, Baldwin's story mixes the sweet and the sad. Tish and Fonny have pledged to get married, but Fonny is falsely accused of a terrible crime and imprisoned. Their families set out to clear his name, and as they face an uncertain future, the young lovers experience a kaleidoscope of emotions-affection, despair, and hope. In a love story that evokes the blues, where passion and sadness are inevitably intertwined, Baldwin has created two characters so alive and profoundly realized that they are unforgettably ingrained in the American psyche.

    On his first night in his new home, Warren spies two figures outside in the grass. When he screws up the nerve to confront them, they disappear. The next day he encounters ghosts of a different kind: In the face of a teenage girl he meets at a comics convention he sees the mingled features of his white father and his black mother, both now dead. The girl, Tal, is his daughter, and she’s been raised to think she’s white. Spinning from these revelations, Warren sets off to remake his life with a reluctant daughter he’s never known, in a haunted house with a history he knows too well. In their search for a new life, he and Tal struggle with ghosts, fall in with a utopian mixed-race cult, and ignite a riot on Loving Day, the unsung holiday for interracial lovers.A frequently hilarious, surprisingly moving story about blacks and whites, fathers and daughters, the living and the dead, Loving Day celebrates the wonders of opposites bound in love.

    Their investigative trail will carry them from the West Coast to the East, to D.C., New York, and the social whirl of Martha's Vineyard as the summer season reaches its peak. In the middle of dissed colleagues, dumped girlfriends, disgruntled ex-employees, and the legions of enemies Ev managed to accumulate before he died, Alex Powell realizes that before everything is over Everett Carson might not be the only person who ends up with a toe tag.

    Claude isn’t dangerous or brilliant—he’s an average kid coping with abandonment, violence, riots, failed love, and societal pressures as he steers his way past the signposts of youth: childhood friendships, basketball tryouts, first love, first heartbreak, picking a college, moving away from home.    Claude just wants a place where he can fit. As a young black man born on the South Side of Chicago, he is raised by his civil rights–era grandmother, who tries to shape him into a principled actor for change; yet when riots consume his neighborhood, he hesitates to take sides, unwilling to let race define his life. He decides to escape Chicago for another place, to go to college, to find a new identity, to leave the pressure cooker of his hometown behind. But as he discovers, he cannot; there is no safe haven for a young black man in this time and place called America.    Percolating with fierceness and originality, attuned to the ironies inherent in our twenty-first-century landscape, Everywhere You Don’t Belong marks the arrival of a brilliant young talent.

    Now, ten years later, they seem to have it all. Jessica is in the limelight, a TV personality whose star is on the rise. Ellie is an optimist, happily engaged in the quest for love. Shereen is a stunning and powerful executive, and Yolanda, the strong-willed leader of the group, has defied her roots to capture her vision of the American dream. But years before, these four women banded together to keep a devastating secret-and now, ten years later, someone will do anything to see the secret brought to light. None of them anticipated the consequences of keeping the secret-and now, someone is trying to shatter all their lives. Intense, powerful, page-turning, and emotional, The Sisters of Theta Phi Kappa will keep you guessing and will make you think about the depths of friendship, the price of loyalty, and the bonds of sisterhood.

    . . a work of great beauty and moral imagination," In Another Place, Not Here tells of two contemporary Caribbean women who find brief refuge in each other on an island in the midst of political uprising. Elizete, dreaming of running to another place to escape the harshness of her daily life on the island, meets Verlia, an urban woman in constant flight who has returned to her island birthplace with hopes of revolution. Their tumultuous story moves between city and island, past and future, fantasy and reality.

    Narrated in a mixture of biblical rhetoric, black dialect, and colloquial English, Hurston traces Moses' life from the day he Is launched into the Nile river in a reed basket, to his development as a great magician, to his transformation into the heroic rebel leader, the Great Emancipator. From his dramatic confrontations with Pharaoh to his fragile negotiations with the wary Hebrews, this very human story is told with great humor, passion, and psychological insight--the hallmarks of Hurston as a writer and champion of black culture.

    And it’s about to change the lives of everyone around him. Stanford Solomon is actually Abel Paisley, a man who faked his own death and stole the identity of his best friend. And now, nearing the end of his life, Stanford is about to meet his firstborn daughter, Irene Paisley, a home health aide who has unwittingly shown up for her first day of work to tend to the father she thought was dead. These Ghosts Are Family revolves around the consequences of Abel’s decision and tells the story of the Paisley family from colonial Jamaica to present day Harlem. There is Vera, whose widowhood forced her into the role of single mother. There are two daughters and a granddaughter who have never known they are related. And there are others, like the house boy who loved Vera, whose lives might have taken different courses if not for Abel Paisley’s actions. These Ghosts Are Family explores the ways each character wrestles with their ghosts and struggles to forge independent identities outside of the family and their trauma. The result is an engrossing portrait of a family and individuals caught in the sweep of history, slavery, migration, and the more personal dramas of infidelity, lost love, and regret. This electric and luminous family saga announces the arrival of a new American talent.

    There he meets the eminent professor, Gordon Stone, and his beautiful wife, Judith Silver, with whom he soon falls into a passionate affair. Into this explosive mix, a young woman appears--a single mother at the end of her emotional rope. Crystal desperately needs David. Yet caught between two women, David bears witness to a heartbreaking turn of events that seems as inevitable as the push and pull of ocean waves. . . .

    Be civil in a hostile environment. Go to college, get an education, start a career. Do all the right things. Buy an apartment. Buy art. Buy a sort of happiness. But above all, keep your head down. Keep quiet. And keep going.The narrator of Assembly is a black British woman. She is preparing to attend a lavish garden party at her boyfriend’s family estate, set deep in the English countryside. At the same time, she is considering the carefully assembled pieces of herself. As the minutes tick down and the future beckons, she can’t escape the question: is it time to take it all apart?Assembly is a story about the stories we live within – those of race and class, safety and freedom, winners and losers.And it is about one woman daring to take control of her own story, even at the cost of her life. With a steely, unfaltering gaze, Natasha Brown dismantles the mythology of whiteness, lining up the debris in a neat row and walking away.

    Living and working in Los Angeles, a young African-American woman finds herself torn between loyalty to her race and her commitment to a cause.

    A university professor studying racism by conducting a secret social experiment on his own son. A single mother desperate to buy her first home even as the world hurtles toward catastrophe. Each fighting to survive in America.Tough-minded, vulnerable, and brave, Jocelyn Nicole Johnson’s precisely imagined debut explores burdened inheritances and extraordinary pursuits of belonging. Set in the near future, the eponymous novella, “My Monticello,” tells of a diverse group of Charlottesville neighbors fleeing violent white supremacists. Led by Da’Naisha, a young Black descendant of Thomas Jefferson and Sally Hemings, they seek refuge in Jefferson’s historic plantation home in a desperate attempt to outlive the long-foretold racial and environmental unravelling within the nation.In “Control Negro,” hailed by Roxane Gay as “one hell of story,” a university professor devotes himself to the study of racism and the development of ACMs (average American Caucasian males) by clinically observing his own son from birth in order to “painstakingly mark the route of this Black child too, one whom I could prove was so strikingly decent and true that America could not find fault in him unless we as a nation had projected it there.” Johnson’s characters all seek out home as a place and an internal state, whether in the form of a Nigerian widower who immigrates to a meager existence in the city of Alexandria, finding himself adrift; a young mixed-race woman who adopts a new tongue and name to escape the landscapes of rural Virginia and her family; or a single mother who seeks salvation through “Buying a House Ahead of the Apocalypse.”United by these characters’ relentless struggles against reality and fate, My Monticello is a formidable book that bears witness to this country’s legacies and announces the arrival of a wildly original new voice in American fiction.