The only takers are two eccentric Englishmen who want to embark for the other side of the globe. The Reverend Geoffrey Wilson believes the Garden of Eden was on the island of Tasmania. His traveling partner, Dr. Thomas Potter, unbeknownst to Wilson, is developing a sinister thesis about the races of men. Meanwhile, an aboriginal in Tasmania named Peevay recounts his people’s struggles against the invading British, a story that begins in 1824, moves into the present with approach of the English passengers in 1857, and extends into the future in 1870. These characters and many others come together in a storm of voices that vividly bring a past age to life.

    While his sophisticated colleagues meet him with kindness and hospitality, he is soon exposed to a colder, ruthlessly commercial underbelly—callous agents, greedy landlords, boorish and hostile neighbors, and, beneath a superficial cosmopolitanism, a bedrock of white cultural superiority and racist assumptions about Africa, its peoples, and worst of all, its food.Reckoning, at the same time, with the recent history of the devastating and brutal Biafran War, in which Ekong’s people were a minority of a minority caught up in the mutual slaughter of majority tribes, Ekong’s life in New York becomes a saga of unanticipated strife. The great apartment deal wrangled by his editor turns out to be an illegal sublet crawling with bedbugs. The lights of Times Square slide off the hardened veneer of New Yorkers plowing past the tourists. A collective antagonism toward the “other” consumes Ekong’s daily life. Yet in overcoming misunderstandings with his neighbors, Chinese and Latino and African American, and in bonding with his true allies at work and advocating for healing back home, Ekong proves that there is still hope in sharing our stories.Akpan’s prose melds humor, tenderness, and pain to explore the myriad ways that tribalisms define life everywhere, from the villages of Nigeria to the villages within New York City. New York, My Village is a triumph of storytelling and a testament to the life-sustaining power of community across borders and across boroughs.

    With echoes of Gwendolyn Brooks and Sonia Sanchez, Mans writes to call herself—and us—home. Each poem explores what it means to be a daughter of Newark, and America--and the painful, joyous path to adulthood as a young, queer Black woman.Black Girl, Call Home is a love letter to the wandering Black girl and a vital companion to any woman on a journey to find truth, belonging, and healing.

    She conjures up early operating theaters--no place for the squeamish--and surgeons, working before anesthesia, who were lauded for their speed and brute strength. These medical pioneers knew that the aftermath of surgery was often more dangerous than their patients' afflictions, and they were baffled by the persistent infections that kept mortality rates stubbornly high. At a time when surgery couldn't have been more hazardous, an unlikely figure stepped forward: a young, melancholy Quaker surgeon named Joseph Lister, who would solve the deadly riddle and change the course of history.Fitzharris dramatically recounts Lister's discoveries in gripping detail, culminating in his audacious claim that germs were the source of all infection--and could be countered by antiseptics. Focusing on the tumultuous period from 1850 to 1875, she introduces us to Lister and his contemporaries--some of them brilliant, some outright criminal--and takes us through the grimy medical schools and dreary hospitals where they learned their art, the deadhouses where they studied anatomy, and the graveyards they occasionally ransacked for cadavers.Eerie and illuminating, The Butchering Art celebrates the triumph of a visionary surgeon whose quest to unite science and medicine delivered us into the modern world.

    Her mother has been vigilant about helping--forcing--her to stay well within the Nigerian dating pool ever since. But when another match-made-by-mom goes wrong, Azere ends up at a bar, enjoying the company and later sharing the bed of Rafael Castellano, a man who is tall, handsome, and white.When their one-night stand unexpectedly evolves into something serious, Azere is caught between her growing feelings for Rafael and the compulsive need to please her mother who will never accept a relationship that threatens to dilute Azere's Nigerian heritage. Azere can't help wondering if loving Rafael makes her any less of a Nigerian. Can she be with him without compromising her identity? The answer will either cause Azere to be audacious and fight for her happiness or continue as the compliant daughter.

    She knew she would be lonely, but will her new relationship with the Australian-British-German landscape architect bring her closer to this land she has chosen, will their love give her a home?A Lover's Discourse is an exploration of romantic love told through fragments of conversations between the two lovers. Playing with language and the cultural differences that her narrator encounters as she settles into life in a Britain still reeling from the Brexit vote, Xiaolu Guo shows us how this couple navigate these differences, and their romance, whether on their unmoored houseboat or in a cramped and stifling flat share in east London... Suffused with a wonderful sense of humour, this intimate and tender novel asks universal questions: what is the meaning of home when we've been uprooted? How can a man and woman be together? And how best to be a woman and a mother?

    It also has a very, very old one.   Pepper is a rambunctious big man, minor-league troublemaker, working-class hero (in his own mind), and, suddenly, the surprised inmate of a budget-strapped mental institution in Queens, New York. He’s not mentally ill, but that doesn’t seem to matter. He is accused of a crime he can’t quite square with his memory. In the darkness of his room on his first night, he’s visited by a terrifying creature with the body of an old man and the head of a bison who nearly kills him before being hustled away by the hospital staff. It’s no delusion: The other patients confirm that a hungry devil roams the hallways when the sun goes down. Pepper rallies three other inmates in a plot to fight back: Dorry, an octogenarian schizophrenic who’s been on the ward for decades and knows all its secrets; Coffee, an African immigrant with severe OCD, who tries desperately to send alarms to the outside world; and Loochie, a bipolar teenage girl who acts as the group’s enforcer. Battling the pill-pushing staff, one another, and their own minds, they try to kill the monster that’s stalking them. But can the Devil die?  The Devil in Silver brilliantly brings together the compelling themes that spark all of Victor LaValle’s radiant fiction: faith, race, class, madness, and our relationship with the unseen and the uncanny. More than that, it’s a thrillingly suspenseful work of literary horror about friendship, love, and the courage to slay our own demons.

    In this affecting and inspiring collection of essays, Emma Dabiri draws on both academic discipline and lived experience to probe the ways many of us are complacent and complicit—and can therefore combat—white supremacy. She outlines the actions we must take, including:Stop the DenialInterrogate WhitenessAbandon GuiltRedistribute ResourcesRealize this shit is killing you too . . . To move forward, we must begin to evaluate our prejudices, our social systems, and the ways in which white supremacy harms us all. Illuminating and practical, What White People Can Do Next is essential for everyone who wants to go beyond their current understanding and affect real—and lasting—change.

    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.

    Part historical study, part autobiographical musing, part pop culture vivisection, it's a comprehensive attempt to make sense of blackness from the vantage point of the hilarious and insightful psyche of Jeffrey Boakye. Along the way, it explores a far reaching range of social and cultural contexts, including but not limited to, sport, art, entertainment, politics, literature, history, music, theatre, cinema, education and criminal justice, sometimes at the same time.

    It is an unforgettable portrait of a true larger-than-life woman who made her mark on history.

    Across the book’s three sequences, we find the black-girl speaker in the midst of a self-imposed exile, going back in memory to explore her younger self—a mixed-race child being raised by her white supremacist grandfather in the shadow of Churchill Downs, Kentucky’s world-famous horseracing track—before arriving in a state of self-awareness to confront the personal and political landscape of a harshly segregated Louisville. Out of a space that is at once southern and urban, violent and beautiful, racially-charged and working-class, she attempts to transcend her social and economic circumstances. Across the collection, Priest writes a horse that acts as a metaphysical engine of flight, showing us how to throw off the harness and sustain wildness. Unlike the traditional Bildungsroman, Priest presents a non-linear narrative in which the speaker lacks the freedom to come of age naively in the urban South, and must instead, from the beginning, possess the wisdom of “the horses & their restless minds.”    FROM "RODEO"   The four-wheeler is a chariot. Horse-wraiths Kicking up a plume of spirits in the dirt behind us. Her arms kudzu around my middle. Out here,   In the desert, everything is invisible. Only the locusts’ flat buzz gives Them away. Everything native & quieting   Perennial & nighthawk black As we ride through: the cowgirls, The witch & the water sky-mirror-split,   The severity of squall lines. Also, the lips Parting air like lightning & the girl Blowing bubbles—in each one                                                 a rainbow.