This is Maya Angelou talking from the heart, down to earth and real, but also inspiring. This is a book to treasured, a book about being in all ways a woman, about living well, about the power of the word, and about the power do spirituality to move and shape your life. Passionate, lively, and lyrical, Maya Angelou's latest unforgettable work offers a gem of truth on every page. "From the Paperback edition."

    Dealing with these losses, one after another, made Jesmyn ask the question: why? And as she began to write about the experience of living through all the dying, she realized the truth--and it took her breath away. Her brother and her friends all died because of who they were and where they were from, because they lived with a history of racism and economic struggle that fostered drug addiction and the dissolution of family and relationships. Jesmyn says the answer was so obvious she felt stupid for not seeing it. But it nagged at her until she knew she had to write about her community, to write their stories and her own. Jesmyn grew up in poverty in rural Mississippi. She writes powerfully about the pressures this brings, on the men who can do no right and the women who stand in for family in a society where the men are often absent. She bravely tells her story, revisiting the agonizing losses of her only brother and her friends. As the sole member of her family to leave home and pursue high education, she writes about this parallel American universe with the objectivity distance provides and the intimacy of utter familiarity.

    Sidibe tells the engrossing, inspiring story of her first job as a phone sex “talker.” And she shares her unconventional (of course!) rise to fame as a movie star, alongside “a superstar cast of rich people who lived in mansions and had their own private islands and amazing careers while I lived in my mom's apartment.” Sidibe’s memoir hits hard with self-knowing dispatches on friendship, depression, celebrity, haters, fashion, race, and weight (“If I could just get the world to see me the way I see myself,” she writes, “would my body still be a thing you walked away thinking about?”). Irreverent, hilarious, and nontraditional, This Is Just My Face takes its place and fills a void on the shelf of writers from Mindy Kaling to David Sedaris to Lena Dunham.

    Listening to his sermons, sharing coconut-flavored ices on their walks through town, roaming through the house that held together many members of a colorful extended family, Edwidge grew profoundly attached to Joseph. He was the man who “knew all the verses for love.” And so she experiences a jumble of emotions when, at twelve, she joins her parents in New York City. She is at last reunited with her two youngest brothers, and with her mother and father, whom she has struggled to remember. But she must also leave behind Joseph and the only home she’s ever known. Edwidge tells of making a new life in a new country while fearing for the safety of those still in Haiti as the political situation deteriorates. But Brother I’m Dying soon becomes a terrifying tale of good people caught up in events beyond their control. Late in 2004, his life threatened by an angry mob, forced to flee his church, the frail, eighty-one-year-old Joseph makes his way to Miami, where he thinks he will be safe. Instead, he is detained by U.S. Customs, held by the Department of Homeland Security, brutally imprisoned, and dead within days. It was a story that made headlines around the world. His brother, Mira, will soon join him in death, but not before he holds hope in his arms: Edwidge’s firstborn, who will bear his name—and the family’s stories, both joyous and tragic—into the next generation. Told with tremendous feeling, this is a true-life epic on an intimate scale: a deeply affecting story of home and family—of two men’s lives and deaths, and of a daughter’s great love for them both.

    Henson, comes an inspiring and funny book about family, friends, the hustle required to make it from DC to Hollywood, and the joy of living in your own truth.With a sensibility that recalls her beloved screen characters, including NASA physicist mathematician Katherine G. Johnson, Yvette, Queenie, Shug, and the iconic Cookie from Empire, yet is all Taraji, the screen actress writes of her family, the one she was born into and the one she created. She shares stories of her father, a Vietnam vet who was bowed but never broken by life's challenges, and of her mother who survived violence both in the home and on DC's volatile streets. Here too she opens up about her experiences as a single mother, a journey some saw as a burden but which she saw as a gift.Around the Way Girl is also a classic actor’s memoir in which Taraji reflects on the world-class instruction she received at Howard University and the pitfalls that come with being a black actress. With laugh-out-loud humor and candor, she shares the challenges and disappointments of the actor’s journey and shows us that behind the red carpet moments, she is ever authentic. She is at heart just a girl in pursuit of her dreams.

    Delany married white poet Marilyn Hacker right out of high school. The interracial couple moved into the city's new bohemian quarter, the Lower East Side, in summer 1961. Through the decade's opening years, new art, new sexual practices, new music, and new political awareness burgeoned among the crowded streets and cheap railroad apartments. Beautifully, vividly, insightfully, Delany calls up this era of exploration and adventure as he details his development as a black gay writer in an open marriage, with tertiary walk-ons by Bob Dylan, Stokely Carmichael, W. H. Auden, and James Baldwin, and a panoply of brilliantly drawn secondary characters.Winner of the 1989 Hugo Award for Non-fictionSamuel R. Delany is the author of numerous science fiction books including Dhalgren, other fiction including The Mad Man, as well as the best-selling nonfiction study Times Square Red, Times Square Blue. He lives in New York City and teaches at Temple University. The Lambda Book Report chose Delany as one of the fifty most significant men and women of the past hundred years to change our concept of gayness, and he is a recipient of the William Whitehead Memorial Award for a lifetime's contribution to lesbian and gay literature.

      Born in upper-crust black Chicago—her father was for years head of pediatrics at Provident, at the time the nation’s oldest black hospital; her mother was a socialite—Margo Jefferson has spent most of her life among (call them what you will) the colored aristocracy, the colored elite, the blue-vein society. Since the nineteenth century they have stood apart, these inhabitants of Negroland, “a small region of Negro America where residents were sheltered by a certain amount of privilege and plenty.”   Reckoning with the strictures and demands of Negroland at crucial historical moments—the civil rights movement, the dawn of feminism, the fallacy of postracial America—Jefferson brilliantly charts the twists and turns of a life informed by psychological and moral contradictions. Aware as it is of heart-wrenching despair and depression, this book is a triumphant paean to the grace of perseverance.

    "I am black--and brown, too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell."The storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into a coffee shop and, along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness."Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience").She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably . . . Race is the story of my life, and therefore black is the body of this book."And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love."

    The one-act play invites listeners into Sharon's unorthodox childhood, growing up in an apartment on the top floor of the St. Agnes Branch of the New York Public Library, where her father served as the building's custodian. A love of literature and boundless imagination helped the playwright as a young woman persevere over dragons of all forms.Directed by Maria Mileaf, Feeding the Dragon premiered at City Theatre in Pittsburgh and was subsequently produced by Hartford Stage and Primary Stages.©2018 Sharon Washington (P)2018 AO Media, LLC.

    Here, Sidney Poitier explores these elements of character and personal values to take his own measure - as a man, as a husband, and father, and as an actor.Poitier was uncompromising as he pursued a personal and public life that would honor his upbringing and the invaluable legacy of his parents. Committed to the notion that what one does for a living articulates who one is, Poitier played only forceful and affecting characters who said something positive, useful, and lasting about the human condition.Here, finally, is Poitier's own introspective look at what has informed his performances and his life. Poitier explores the nature of sacrifice and commitment, pride and humility, rage and forgiveness, and paying the price for artistic integrity. What emerges is a picture of a man seeking truth, passion, and balance in the face of limits his own and the world's. A triumph of the spirit, The Measure of a Man captures the essential Poitier.Author Biography: Sidney Poitier was the first and remains the only African American actor to win the Academy Award for Best Actor for his outstanding performance in Lilies of the Field in 1963, but he believes that will soon change, given the excellence of African-American talent in the industry today. He has starred in over forty films, directed nine, and written four. His landmark films include TheDefiant Ones, A Patch of Blue, Guess Who's Coming to Dinner, and To Sir, With Love. Among his many accolades, he has recently been selected as the thirty-sixth recipient of the Screen Actors Guild's highest honor, the Life Achievement Award for an outstanding career and humanitarian accomplishment.

    This monumental biography--eight years in the research and writing--treats the early and middle phases of a long and intense career: a crucial fifty-year period that demonstrates how Du Bois changed forever the way Americans think about themselves.

     But until she was 25 she never learned to swim. Not because she wouldn't have loved to, but because when she was a little girl in Birmingham, Alabama, Commissioner of Public Safety Bull Connor decided he'd rather shut down the city's pools than give black citizens access. Throughout the 1950's, Birmingham's black middle class largely succeeded in insulating their children from the most corrosive effects of racism, providing multiple support systems to ensure the next generation would live better than the last.  But by 1963, when Rice was applying herself to her fourth grader's lessons, the situation had grown intolerable.  Birmingham was an environment where blacks were expected to keep their head down and do what they were told -- or face violent consequences. That spring two bombs exploded in Rice’s neighborhood amid a series of chilling Klu Klux Klan attacks.  Months later, four young girls lost their lives in a particularly vicious bombing. So how was Rice able to achieve what she ultimately did? Her father, John, a minister and educator, instilled a love of sports and politics.  Her mother, a teacher, developed Condoleezza’s passion for piano and exposed her to the fine arts.  From both, Rice learned the value of faith in the face of hardship and the importance of giving back to the community.  Her parents’ fierce unwillingness to set limits propelled her to the venerable halls of Stanford University, where she quickly rose through the ranks to become the university’s second-in-command.  An expert in Soviet and Eastern European Affairs, she played a leading role in U.S. policy as the Iron Curtain fell and the Soviet Union disintegrated.  Less than a decade later, at the apex of the hotly contested 2000 presidential election, she received the exciting news – just shortly before her father’s death – that she would go on to the White House as the first female National Security Advisor.   As comfortable describing lighthearted family moments as she is recalling the poignancy of her mother’s cancer battle and the heady challenge of going toe-to-toe with Soviet leaders, Rice holds nothing back in this remarkably candid telling. This is the story of Condoleezza Rice that has never been told, not that of an ultra-accomplished world leader, but of a little girl – and a young woman -- trying to find her place in a sometimes hostile world and of two exceptional parents, and an extended family and community, that made all the difference.

    In this “remarkable act of reclamation” (Neil Gaiman), Ruth Franklin envisions Jackson as “belonging to the great tradition of Hawthorne, Poe and James” (New York Times Book Review) and demonstrates how her unique contribution to the canon “so uncannily channeled women’s nightmares and contradictions that it is ‘nothing less than the secret history of American women of her era’ ” (Washington Post). Franklin investigates the “interplay between the life, the work, and the times with real skill and insight, making this fine book a real contribution not only to biography, but to mid-20th-century women’s history” (Chicago Tribune). “Wisely rescu[ing] Shirley Jackson from any semblance of obscurity” (Lena Dunham), Franklin’s invigorating portrait stands as the definitive biography of a generational avatar and an American literary genius.

    As a UCLA student, though, he had led the Los Angeles Chapter of the Black Panther Party, and became a target of the FBI. Here is the spellbinding saga of Pratt, his heroic lawyers, Johnnie Cochran and Stuart Hanlon, and the Reverend James McCloskey, who overcame all the odds to bring the truth to light and free Geronimo.

    It begins in New York, where Barack Obama learns that his father—a figure he knows more as a myth than as a man—has been killed in a car accident. This sudden death inspires an emotional odyssey—first to a small town in Kansas, from which he retraces the migration of his mother’s family to Hawaii, and then to Kenya, where he meets the African side of his family, confronts the bitter truth of his father’s life, and at last reconciles his divided inheritance.