Accounts from well-known authors and high-profile identities sit alongside those from newly discovered writers of all ages. All of the contributors speak from the heart sometimes calling for empathy, oftentimes challenging stereotypes, always demanding respect.

    It is me, plain and unvarnished, with the glitter and garland set aside. Here, I am indeed Cicely, the actress who has been blessed to grace the stage and screen for six decades. Yet I am also the church girl who once rarely spoke a word. I am the teenager who sought solace in the verses of the old hymn for which this book is named. I am a daughter and mother, a sister, and a friend. I am an observer of human nature and the dreamer of audacious dreams. I am a woman who has hurt as immeasurably as I have loved, a child of God divinely guided by His hand. And here in my ninth decade, I am a woman who, at long last, has something meaningful to say.

    She posted a piece on her blog, entitled: 'Why I'm No Longer Talking to White People About Race' that led to this book.Exploring issues from eradicated black history to the political purpose of white dominance, whitewashed feminism to the inextricable link between class and race, Reni Eddo-Lodge offers a timely and essential new framework for how to see, acknowledge and counter racism. It is a searing, illuminating, absolutely necessary exploration of what it is to be a person of colour in Britain today.

    Beginning with a letter to one of his Black nephews, he proceeds with reporting and reflections on his slave ancestors, his upbringing in the shadows of segregation, and his adult confrontations with politicians, activists, and scholars. In doing so, Lemon offers a searing and poetic ultimatum to America. He visits the slave port where a direct ancestor was shackled and shipped to America. He recalls a slave uprising in Louisiana, just a few miles from his birthplace. And he takes us to the heart of the 2020 protests in New York City. As he writes to his young nephew: We must resist racism every single day. We must resist it with love.

    The result is a lyrical and piercingly insightful collection of essays, letters (to her grandmother, to the basketball star Michael Jordan, to Death), and her own brand of essay-meets-prose poetry about identity and culture. Inspired by Maggie Nelson’s Bluets, Lydia Davis’s short prose, and Vivian Gornick’s exploration of interior life, Chew-Bose captures the inner restlessness that keeps her always on the brink of creative expression.Too Much and Not the Mood is a beautiful and surprising exploration of what it means to be a first-generation, creative young woman working today.

    Consumed by grief and without access to professional help, Susan self-medicated, becoming addicted first to cocaine, then crack. As a resident of South L.A., an impoverished black community under siege by the War on Drugs, it was but a matter of time before Susan was arrested. She cycled in and out of prison for fifteen years; never was she offered therapy or treatment for addiction. On her own, she eventually found a private drug rehabilitation facility.Once clean, Susan dedicated her life to supporting women facing similar struggles. She began by greeting women as they took their first steps of freedom, welcoming them into her home, providing a space of safety and community. Her organization, A New Way of Life, now operates five safe homes in Los Angeles that supply a lifeline to hundreds of formerly incarcerated women and their children—setting them on the track to education and employment rather than returns to prison. Susan is now nationally known as an advocate for restoring basic civil and human rights to those who have served time. Ms. Burton not only humanizes the deleterious impact of mass incarceration, it also points the way to the kind of structural and policy changes that will offer formerly incarcerated people the possibility of a life of meaning and dignity.

    In this unique book he takes his own experiences and widens them out to look at the social, historical and political factors that have left us where we are today.Covering everything from the police, education and identity to politics, sexual objectification and the far right, Natives speaks directly to British denial and squeamishness when it comes to confronting issues of race and class that are at the heart of the legacy of Britain's racialised empire.

    From the financial crisis to rising student debt to collapsing public infrastructure, she found a common root problem: racism. But not just in the most obvious indignities for people of color. Racism has costs for white people, too. It is the common denominator of our most vexing public problems, the core dysfunction of our democracy and constitutive of the spiritual and moral crises that grip us all. But how did this happen? And is there a way out?McGhee embarks on a deeply personal journey across the country from Maine to Mississippi to California, tallying what we lose when we buy into the zero-sum paradigm--the idea that progress for some of us must come at the expense of others. Along the way, she meets white people who confide in her about losing their homes, their dreams, and their shot at better jobs to the toxic mix of American racism and greed. This is the story of how public goods in this country--from parks and pools to functioning schools--have become private luxuries; of how unions collapsed, wages stagnated, and inequality increased; and of how this country, unique among the world's advanced economies, has thwarted universal healthcare.But in unlikely places of worship and work, McGhee finds proof of what she calls the Solidarity Dividend: gains that come when people come together across race, to accomplish what we simply can't do on our own.McGhee marshals economic and sociological research to paint a story of racism's costs, but at the heart of the book are the humble stories of people yearning to be part of a better America, including white supremacy's collateral victims: white people themselves. With startling empathy, this heartfelt message from a Black woman to a multiracial America leaves us with a new vision for a future in which we finally realize that life can be more than a zero-sum game.

    Descended from a Black and Mexican father and a white mother, Nolan’s mixed-race identity is obvious, for better and worse. At her mother’s encouragement, she began her first diet at the age of three and has been both fat and painfully thin throughout her life. She has experienced both the discomfort of generational poverty and the ease of wealth and privilege. It is these liminal spaces—of race, class, and body type—that the essays in Don’t Let It Get You Down excavate, presenting a clear and nuanced understanding of our society’s most intractable points of tension. The twelve essays that comprise this collection are rich with unforgettable anecdotes and are as humorous and as full of Nolan’s appetites as they are of anxieties. The result is lyrical and magnetic. In “On Dating White Guys While Me,” Nolan realizes her early romantic pursuits of rich, preppy white guys weren’t about preference, but about self-erasure. In the titular essay “Don’t Let it Get You Down,” we traverse the cyclical richness and sorrow of being Black in America as Black children face police brutality, “large Black females” encounter unique stigma, and Black men carry the weight of other people’s fear. In “Bad Education,” we see how women learn to internalize rage and accept violence in order to participate in our culture. And in “To Wit and Also” we meet Filliss, Grace, and Peggy, the enslaved women owned by Nolan’s white ancestors, reckoning with the knowledge that America’s original sin lives intimately within our present stories. Over and over again, Nolan reminds us that our true identities are often most authentically lived not in the black and white, but in the grey of the in-between. Perfect for fans of Heavy by Kiese Laymon and Bad Feminist by Roxane Gay, Don’t Let It Get You Down delivers an essential perspective on race, class, bodies, and gender in America today.

    Inspired by the #SayHerName campaign launched by the African American Policy Forum, these poems pay tribute to victims of police brutality as well as the activists insisting that Black Lives Matter. Elliott engages poets from the past two centuries to create a chorus of voices celebrating the creativity, resilience, and courage of Black women and girls. This collection features 49 powerful poems, four of which are tribute poems inspired by the works of Lucille Clifton, Audre Lorde, Nikki Giovanni, and Phillis Wheatley. This collection aims to move every listener to reflect, respond—and act.

    So begins Yusef Salaam telling his story. No one's life is the sum of the worst things that happened to them, and during Yusef Salaam's seven years of wrongful incarceration as one of the Central Park Five, he grew from child to man, and gained a spiritual perspective on life. Yusef learned that we're all "born on purpose, with a purpose." Despite having confronted the racist heart of America while being "run over by the spiked wheels of injustice," Yusef channeled his energy and pain into something positive, not just for himself but for other marginalized people and communities.Better Not Bitter is the first time that one of the now Exonerated Five is telling his individual story, in his own words. Yusef writes his narrative: growing up Black in central Harlem in the '80s, being raised by a strong, fierce mother and grandmother, his years of incarceration, his reentry, and exoneration. Yusef connects these stories to lessons and principles he learned that gave him the power to survive through the worst of life's experiences. He inspires readers to accept their own path, to understand their own sense of purpose. With his intimate personal insights, Yusef unpacks the systems built and designed for profit and the oppression of Black and Brown people. He inspires readers to channel their fury into action, and through the spiritual, to turn that anger and trauma into a constructive force that lives alongside accountability and mobilizes change.This memoir is an inspiring story that grew out of one of the gravest miscarriages of justice, one that not only speaks to a moment in time or the rage-filled present, but reflects a 400-year history of a nation's inability to be held accountable for its sins. Yusef Salaam's message is vital for our times, a motivating resource for enacting change. Better, Not Bitter has the power to soothe, inspire and transform. It is a galvanizing call to action.

    Essays that challenge, discomfort, disorient, galvanize, and inspire all of us to evolve now, for our shared future.

    Chanda Prescod-Weinstein shares her love for physics, from the Standard Model of Particle Physics and what lies beyond it, to the physics of melanin in skin, to the latest theories of dark matter — all with a new spin informed by history, politics, and the wisdom of Star Trek.One of the leading physicists of her generation, Dr. Chanda Prescod-Weinstein is also one of fewer than one hundred Black American women to earn a PhD from a department of physics. Her vision of the cosmos is vibrant, buoyantly non-traditional, and grounded in Black feminist traditions.Prescod-Weinstein urges us to recognize how science, like most fields, is rife with racism, sexism, and other dehumanizing systems. She lays out a bold new approach to science and society that begins with the belief that we all have a fundamental right to know and love the night sky. The Disordered Cosmos dreams into existence a world that allows everyone to tap into humanity’s wealth of knowledge about the wonders of the universe.

    Cleaver writes in Soul on Ice, "I'm perfectly aware that I'm in prison, that I'm a Negro, that I've been a rapist, and that I have a Higher Uneducation." What Cleaver shows us, on the pages of this now classic autobiography, is how much he was a man.

    Brian’s recounting of his experiences—in all their cringe-worthy, hilarious, and heartbreaking glory—reveal a perpetual outsider awkwardly squirming to find his way in.Indiscriminate sex and escalating drug use help to soothe his hurt, young psyche, usually to uproarious and devastating effect. A no-nonsense mother and broken father play crucial roles in our misfit’s origin story. But it is Brian’s voice in the retelling that shows the true depth of vulnerability for young Black boys that is often quietly near to bursting at the seams.Cleverly framed around Gwendolyn Brooks’s poem “We Real Cool,” the iconic and loving ode to Black boyhood, Punch Me Up to the Gods is at once playful, poignant, and wholly original. Broome’s writing brims with swagger and sensitivity, bringing an exquisite and fresh voice to ongoing cultural conversations about Blackness in America.