Jr, burst on the scene in 2015, originating the role of Aaron Burr in the Broadway musical phenomenon Hamilton. Since then, he has performed for sold-out audiences, sung for the Obamas at the White House, and won a Tony Award for Best Leading Actor in a Musical. But before he landed the role of a lifetime in one of the biggest musicals of all time, Odom put in years of hard work as a singer and an actor.With personal stories from his life, Odom asks the questions that will help you unlock your true potential and achieve your goals even when they seem impossible. What work did you put in today that will help you improve tomorrow? How do you surround yourself with people who will care about your dreams as much as you do? How do you know when to play it safe and when to risk it all for something bigger and better?These stories will inspire you, motivate you, and empower you for the greatness that lies ahead, whether you're graduating from college, starting a new job, or just looking to live each day to the fullest.

    Keah Brown loves herself, but that hadn’t always been the case. Born with cerebral palsy, her greatest desire used to be normalcy and refuge from the steady stream of self-hate society strengthened inside her. But after years of introspection and reaching out to others in her community, she has reclaimed herself and changed her perspective.In The Pretty One, Brown gives a contemporary and relatable voice to the disabled—so often portrayed as mute, weak, or isolated. With clear, fresh, and light-hearted prose, these essays explore everything from her relationship with her able-bodied identical twin (called “the pretty one” by friends) to navigating romance; her deep affinity for all things pop culture—and her disappointment with the media’s distorted view of disability; and her declaration of self-love with the viral hashtag #DisabledAndCute.By “smashing stigmas, empowering her community, and celebrating herself” (Teen Vogue), Brown and The Pretty One aims to expand the conversation about disability and inspire self-love for people of all backgrounds.

    Selected by Paul Vangelisti, this volume comprises the fullest spectrum of Baraka's rousing, revolutionary poems, from his first collection to previously unpublished pieces composed during his final years.Throughout Baraka’s career as a prolific writer (also published as LeRoi Jones), he was vehemently outspoken against oppression of African American citizens, and he radically altered the discourse surrounding racial inequality. The environments and social values that inspired his poetics changed during the course of his life, a trajectory that can be traced in this retrospective spanning more than five decades of profoundly evolving subjects and techniques. Praised for its lyricism and introspection, his early poetry emerged from the Beat generation, while his later writing is marked by intensely rebellious fervor and subversive ideology. All along, his primary focus was on how to live and love in the present moment despite the enduring difficulties of human history.

    One man dared to challenge their effort and thwart attempts to take over the city, Police Detective Ron Stallworth. He launched an undercover investigation into the Klan, gained membership into the organization, briefly served as Duke's bodyguard, and was eventually asked to be the leader of the Colorado Springs chapter. The irony of this investigation was that Stallworth is… A Black man. In the process he battled internal departmental politics to successfully pull off this "sting." Black Klansman explains how he overcame these obstacles and accomplished this almost unbelievable unique achievement.

    Beginning in a hotel room in the dark of a distant city, we travel through history and follow the memory of the Trail of Tears from the bend in the Tallapoosa River to a place near the Arkansas River. Stomp dance songs, blues, and jazz ballads echo throughout. Lost ancestors are recalled. Resilient songs are born, even as they grieve the loss of their country. Called a "magician and a master" (San Francisco Chronicle), Joy Harjo is at the top of her form in Conflict Resolution for Holy Beings.

    Drawing on the black feminist tradition, including Audre Lourde’s invitation to use the erotic as power and Toni Cade Bambara’s exhortation that we make the revolution irresistible, the contributors to this volume take up the challenge to rethink the ground rules of activism. Writers including Cara Page of the Astraea Lesbian Foundation For Justice, Sonya Renee Taylor, founder of This Body Is Not an Apology, and author Alexis Pauline Gumbs cover a wide array of subjects— from sex work to climate change, from race and gender to sex and drugs—creating new narratives about how politics can feel good and how what feels good always has a complex politics of its own.Building on the success of her popular Emergent Strategy, brown launches a new series of the same name with this volume, bringing readers books that explore experimental, expansive, and innovative ways to meet the challenges that face our world today. Books that find the opportunity in every crisis!

    That was the way it was since the beginning, and the way it was to be until the end. In the barn they tended to the animals, but also to each other, transforming the hollowed-out shed into a place of human refuge, a source of intimacy and hope in a world ruled by vicious masters. But when an older man—a fellow slave—seeks to gain favor by preaching the master’s gospel on the plantation, the enslaved begin to turn on their own. Isaiah and Samuel’s love, which was once so simple, is seen as sinful and a clear danger to the plantation’s harmony.With a lyricism reminiscent of Toni Morrison, Robert Jones, Jr. fiercely summons the voices of slaver and the enslaved alike to tell the story of these two men; from Amos the preacher to the calculating slave-master himself to the long line of women that surround them, women who have carried the soul of the plantation on their shoulders. As tensions build and the weight of centuries—of ancestors and future generations to come—culminate in a climactic reckoning, The Prophets masterfully reveals the pain and suffering of inheritance, but is also shot through with hope, beauty, and truth, portraying the enormous, heroic power of love.

    At once an elegy to simple beauty (a sunset the same color as the maple tree in his neighbor’s yard, “Nature and nature head-butt”) and an expression of Wright’s restless questing for a reality beyond the one before our eyes (“Between the divine and the divine / lives a lavish shadow. / Do we avoid it or stand in it? / Do we gather the darkness around us, / or do we let it slide by?”), Caribou’s strength is in its quiet, subtle profundity.     “It’s good to be here,” Wright tells us. “It’s good to be where the world’s quiescent, and reminiscent.” And to be here—in the pages of this stirring collection—is more than good; it’s another remarkable gift from the poet around whose influence “the whole world seems to orbit in a kind of meditative, slow circle” (Poetry).

    Befitting someone who "speaks things into being," Christmas extracts from family history, queer lineage, and the political landscape of a racialized life to create a rich, softly defiant collection of poems. Christmas draws a circle around the things she calls "holy" the family line that cannot find its root but survived to fill the skies with radiant flesh; the body, broken and unbroken and broken and new again; the lover lost, the friend lost, and the loss itself; and the hands that hold them all with brilliant, tender care. Expansive and beautiful, these poems allow readers to swim in Jillian Christmas's mother-tongue and to dream at her shores.

    *Shortlisted for the Forward Prize for Best First Collection 2019*Jay Bernard’s extraordinary debut is a fearlessly original exploration of the black British archive: an enquiry into the New Cross Fire of 1981, a house fire at a birthday party in south London in which thirteen young black people were killed.Dubbed the ‘New Cross Massacre’, the fire was initially believed to be a racist attack, and the indifference with which the tragedy was met by the state triggered a new era of race relations in Britain.Tracing a line from New Cross to the ‘towers of blood’ of the Grenfell fire, this urgent collection speaks with, in and of the voices of the past, brought back by the incantation of dancehall rhythms and the music of Jamaican patois, to form a living presence in the absence of justice.A ground-breaking work of excavation, memory and activism – both political and personal, witness and documentary – Surge shines a much-needed light on an unacknowledged chapter in British history, one that powerfully resonates in our present moment.

    As a child, she channeled otherworldly power to free herself from slavery. Now, her new neighbor, a white woman named Charlotte, seeks her company, and an uneasy friendship grows between them. But Charlotte has also sought solace in the Ku Klux Klan, a relationship that jeopardizes Josephine's family.Nearly one hundred years later, Josephine's descendant, Ava, is a single mother who has just lost her job. She moves in with her white grandmother Martha, a wealthy but lonely woman who pays her grandchild to be her companion. But Martha's behavior soon becomes erratic, then even threatening, and Ava must escape before her story and Josephine's converge.The Revisioners explores the depths of women's relationships—powerful women and marginalized women, healers and survivors. It is a novel about the bonds between a mother and a child, the dangers that upend those bonds. At its core, The Revisioners ponders generational legacies, the endurance of hope, and the undying promise of freedom.

    She grew up Black and weird, before weird was cool, in a mostly white neighborhood in upstate New York, which created its own identity crises. Under the eye-rolling, foul-mouthed, loving tutelage of her unapologetic grandmother--and the horror movies she obsessively watched--Danielle grew into a tall, awkward, Sassy-loving teenager who wore black eyeliner as lipstick and was struggling with the aftermath of her mother's choices. But she also learned that she had the strength and smarts to save herself: her grandmother gifting her a faith in her own capabilities that the world would not have most Black girls believe.

    Distinguished poet Richard Hugo says, “Cathy Song’s poems are flowers: colorful, sensual, and quiet, and they are offered almost shyly as bouquets to those moments in life that seemed minor but in retrospect count the most. She often reminds a loud, indifferent, hard world of what truly matters to the human spirit.”Born in Honolulu, Hawaii, in 1955, Cathy Song received a B.A. from Wellesley College in 1977 and an M.A. in creative writing from Boston University in 1981. Her poems have appeared in an anthology of asian-pacific literature and in Dark Horse, The Greenfield Review, and West Branch.

    Schuyler's satiric romp. Black No More is the story of Max Disher, a dapper black rogue of an insurance man who, through a scientific transformation process, becomes Matthew Fisher, a white man. Matt dreams up a scam that allows him to become the leader of the Knights of Nordica, a white supremacist group, as well as to marry the white woman who rejected him when he was black. Black No More is a hysterical exploration of race and all its self-serving definitions. If you can't beat them, turn into them.Ishmael Reed, one of today's top black satirists and the author of Mumbo Jumbo and Japanese by Spring, provides a spirited Introduction.The fertile artistic period now known as the Harlem Renaissance (1920- 1930) gave birth to many of the world-renowned masters of black literature and is the model for today's renaissance of black writers.

    It is divided into three parts: the first is introduced by a powerful prayer for the dead of 9/11; the second by a searching meditation on Martin Luther King Jr., and the last by a heart-wrenching eulogy for James Baldwin. In the writings and speeches included here, Morrison takes on contested social issues: the foreigner, female empowerment, the press, money, "black matter(s)," and human rights. She looks at enduring matters of culture: the role of the artist in society, the literary imagination, the Afro-American presence in American literature, and in her Nobel lecture, the power of language itself. And here too is piercing commentary on her own work (including The Bluest Eye, Sula, Tar Baby, Jazz, Beloved, and Paradise) and that of others, among them, painter and collagist Romare Bearden, author Toni Cade Bambara, and theater director Peter Sellars. In all, The Source of Self-Regard is a luminous and essential addition to Toni Morrison's oeuvre.