We see her on a visit to Jamaica, startled by the sight of a severed pig’s head in her great aunt’s freezer; in junior high, the victim of a devastating prank by her closest friends; and as a teenager in and out of her grandmother’s house, trying to cope with the ongoing battles between her unyielding grandparents.A rich and unforgettable portrait of growing up between worlds, Frying Plantain shows how, in one charged moment, friendship and love can turn to enmity and hate, well-meaning protection can become control, and teasing play can turn to something much darker. In her brilliantly incisive debut, Zalika Reid-Benta artfully depicts the tensions between mothers and daughters, second-generation Canadians and first-generation cultural expectations, and Black identity and predominately white society.

    Their father, a Ted Hughes scholar and scruffy romantic, imagines a future of well-meaning visitors and emptiness.In this moment of despair they are visited by Crow - antagonist, trickster, healer, babysitter. This self-described sentimental bird is attracted to the grieving family and threatens to stay until they no longer need him. As weeks turn to months and physical pain of loss gives way to memories, this little unit of three begin to heal.In this extraordinary debut - part novella, part polyphonic fable, part essay on grief, Max Porter's compassion and bravura style combine to dazzling effect. Full of unexpected humour and profound emotional truth, Grief is the Thing with Feathers marks the arrival of a thrilling new talent.

    Set in a summer villa, the story is tautly structured, taking place over a week in which a group of beautiful, flawed tourists in the French Riviera comes loose at the seams. Shortlisted for the 2012 Man Booker Prize.

    Marie-Joseph Angélique, a twenty-nine-year-old slave, was arrested, tried, and found guilty of starting the blaze that consumed forty-six buildings. Suspecting that she had not acted alone and angered that she had maintained her innocence, Angélique's condemners tortured her after the trial. She confessed but named no accomplices. Before Angélique was hanged, she was paraded through the city. Afterward, her corpse was burned. Angélique, who had been born in Portugal, faded into the shadows of Canadian history, vaguely remembered as the alleged arsonist behind an early catastrophic fire.The result of fifteen years of research, The Hanging of Angélique vividly tells the story of this strong-willed woman. Afua Cooper draws on extensive trial records that offer, in Angélique's own words, a detailed portrait of her life and a sense of what slavery was like in Canada at the time. Predating other first-person accounts by more than forty years, these records constitute what is arguably the oldest slave narrative in the New World.Cooper sheds new light on the largely misunderstood or ignored history of slavery in Canada. She refutes the myth that Canada was a haven at the end of the Underground Railroad. Cooper also provides a context for Canada in the larger picture of transatlantic slavery while re-creating the tragic life of one woman who refused to accept bondage.

    Her celebrity, however, has obscured other mid-century trans narratives—ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence.Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible.Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within,” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don’t Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

    But for Black people in the United States and across the diaspora, it hasn't often been easy to find Black romance joyfully showcased in entertainment media. In this collection, revered authors and sparkling newcomers, librarians and academicians, and avid readers and reviewers consider the mirrors and windows into Black love as it is depicted in the novels, television shows, and films that have shaped their own stories. Whether personal reflection or cultural commentary, these essays delve into Black love now and in the past, including topics from the history of Black romance to social justice and the Black community to the meaning of desire and desirability.Exploring the multifaceted ways love is seen--and the ways it isn't--this diverse array of Black voices collectively shines a light on the power of crafting happy endings for Black lovers.Jessica Pryde is joined by Carole V. Bell, Sarah Hannah Gomez, Jasmine Guillory, Da'Shaun Harrison, Margo Hendricks, Adriana Herrera, Piper Huguley, Kosoko Jackson, Nicole M. Jackson, Beverly Jenkins, Christina C. Jones, Julie Moody-Freeman, and Allie Parker in this collection.

    The thief then leaves, and the patrons all survive, but strange things soon begin to happen to them: One survivor’s tattoo jumps off her ankle and chases her around; another wakes up to find that she’s made of candy; and Stacey Hinterland discovers that she’s shrinking, incrementally, a little every day, and nothing that her husband or son do can reverse the process. The Tiny Wife is a fable about losing yourself in circumstances and finding yourself in the the love of another.

    Ewing's narrative takes us from the streets of 1990s Chicago to an unspecified future, deftly navigating the boundaries of space, time, and reality. Ewing imagines familiar figures in magical circumstances, and identifies everyday objects - hair moisturizer, a spiral notebook - as precious icons.Her visual art is spare, playful, and poignant: a cereal box decoder ring that allows the wearer to understand what Black girls are saying; a teacher's angry, subversive message scrawled on the chalkboard. Electric Arches invites fresh conversations about race, gender, the city, identity, and the joy and pain of growing up.

    Timely, important, mischievous, powerful: in a word, exceptionalSeventy-seven poems intended as a eulogy for what we have squandered, a reprimand for all we have allowed, a suggestion for what might still be salvaged, a poetic quarrel with our intolerant and greedy selves, a reflection on mortality and longing, as well as a long-running conversation with the mythological currents that flow throughout North America.

    Musician, playwright, and educator Amyra León takes us on a poetic journey through her childhood in Harlem, as she navigates the intricacies of foster care, mourning, self-love, and resilience. In her signature free-verse style, she invites us all to dream with abandon--and to recognize the privilege it is to dream at all.

    Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex―a combination of the sonnet, the ghazal, and the blues―testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while revelling in a celebration of contradiction.

    He was playing softball as a child when the opposing team began to war-whoop when he was at bat. It was just one of many incidents that formed Wente's understanding of what it means to be a modern Indigenous person in a society still overwhelmingly colonial in its attitudes and institutions.As the child of an American father and an Anishinaabe mother, Wente grew up in Toronto with frequent visits to the reserve where his maternal relations lived. By exploring his family's history, including his grandmother's experience in residential school, and citing his own frequent incidents of racial profiling by police who'd stop him on the streets, Wente unpacks the discrepancies between his personal identity and how non-Indigenous people view him.Wente analyzes and gives voice to the differences between Hollywood portrayals of Indigenous peoples and lived culture. Through the lens of art, pop culture, and personal stories, and with disarming humour, he links his love of baseball and movies to such issues as cultural appropriation, Indigenous representation and identity, and Indigenous narrative sovereignty. Indeed, he argues that storytelling in all its forms is one of Indigenous peoples' best weapons in the fight to reclaim their rightful place.Wente explores and exposes the lies that Canada tells itself, unravels "the two founding nations" myth, and insists that the notion of "reconciliation" is not a realistic path forward. Peace between First Nations and the state of Canada can't be recovered through reconciliation--because no such relationship ever existed.

    Even those who have never lived there can rattle off a list of signifiers: the Civil War, Gone with the Wind, the Ku Klux Klan, plantations, football, Jim Crow, slavery. But the idiosyncrasies, dispositions, and habits of the region are stranger and more complex than much of the country tends to acknowledge. In South to America, Imani Perry shows that the meaning of American is inextricably linked with the South, and that our understanding of its history and culture is the key to understanding the nation as a whole.This is the story of a Black woman and native Alabaman returning to the region she has always called home and considering it with fresh eyes. Her journey is full of detours, deep dives, and surprising encounters with places and people. She renders Southerners from all walks of life with sensitivity and honesty, sharing her thoughts about a troubling history and the ritual humiliations and joys that characterize so much of Southern life.Weaving together stories of immigrant communities, contemporary artists, exploitative opportunists, enslaved peoples, unsung heroes, her own ancestors, and her lived experiences, Imani Perry crafts a tapestry unlike any other. With uncommon insight and breathtaking clarity, South to America offers an assertion that if we want to build a more humane future for the United States, we must center our concern below the Mason-Dixon Line.

    It offers a long overdue validation of the experiences of women of color.Discussing subjects as varied as The Hunger Games, Alexandria Ocasio-Cortez, the viral "BBQ Becky" video, and 19th century lynchings of Mexicans in the American Southwest, Ruby Hamad undertakes a new investigation of gender and race. She shows how the division between innocent white women and racialized, sexualized women of color was created, and why this division is crucial to confront.Along the way are revelatory responses to questions such as: Why are white men not troubled by sexual assault of women? With rigor and precision, Hamad builds a powerful argument about the legacy of white superiority we are socialized in, a reality we must apprehend in order to fight.

    This is an anthem of survival and a look at what might come after. A view of what floats and what, ultimately, sustains.Build Yourself a Boat, an innovative debut by award-winning poet Camonghne Felix, interrogates generational trauma, the possibility of healing, and the messiness of survival.Build Yourself a Boat redefines the language of collective and individual trauma through lyric and memory.