Farah Jasmine Griffin’s beloved father died when she was nine, bequeathing her an unparalleled inheritance in closets full of remarkable books and other records of Black genius. In Read Until You Understand - a line from a note he wrote to her - she shares a lifetime of discoveries: the ideas that framed the US Constitution and that inspired Malcolm X’s fervent speeches, the soulful music of Marvin Gaye and Stevie Wonder, the daring literature of Phillis Wheatley and Toni Morrison, the artistry of Romare Bearden, and many others.

How We Do It is an anthology curated by Black writers for the creation and proliferation of Black thought. While a creator’s ethnicity does not solely define them, it is inherently part of who they are and how they interpret the world. For centuries, Black creators have utilized oral and written storytelling traditions in crafting their art. But how does one begin the process of constructing a poem or story or character? How do Black writers, when faced with questions of “authenticity,” dive deep into the essence of their lives and work to find the inherent truth?

In the late ’60s, Ntozake Shange was a student at Barnard College discovering her budding talent as a writer, publishing in her school’s literary journal, and finding her unique voice. By the time she left us in 2018, Shange had scorched blazing trails across countless pages and stages, redefining genre and form as we know them, each verse, dance, and song a love letter to Black women and girls, and the community at large.

A singular achievement, Ordinary Notes explores profound questions about loss and the shapes of Black life that emerge in the wake. In a series of 248 notes that gather meaning as we hear them, Christina Sharpe skillfully weaves artifacts from the past—public ones alongside others that are poignantly personal—with present realities and possible futures, intricately constructing an immersive portrait of everyday Black existence. The themes and tones that echo through this book always attend, with exquisite care, to the ordinary-extraordinary dimensions of Black life.

What would it be like to live in a well-rested world? Far too many of us have claimed productivity as the cornerstone of success. Brainwashed by capitalism, we subject our bodies and minds to work at an unrealistic, damaging, and machine‑level pace—feeding into the same engine that enslaved millions into brutal labor for its own relentless benefit. In Rest Is Resistance, Tricia Hersey, aka the Nap Bishop, casts an illuminating light on our troubled relationship with rest and how to imagine and dream our way to a future where rest is exalted.

While on a drive in Los Angeles, on a seemingly average afternoon, Kerry Washington received a text message that would send her on a life-changing journey of self-discovery. In an instant, her very identity was torn apart, with everything she thought she knew about herself thrown into question.

"The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music - through the music that is most closely associated with him: blues and a later, but parallel, development, jazz...[If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music." So says Amiri Baraka in the introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history.

Through candid interviews with Maya Angelou, Toni Cade Bambara, Gwendolyn Brooks, Alexis De Veaux, Nikki Giovanni, Kristin Hunter, Gayl Jones, Audre Lorde, Toni Morrison, Sonia Sanchez, Ntozake Shange, Alice Walker, Margret Walker, and Sherley Anne Williams, the book highlights the practices and critical linkages between the work and lived experiences of Black women writers whose work laid the foundation for many who have come after.

There have been countless books, articles, and televised reports in recent years about the almost mythic "white working class," a tide of commentary that has obscured the labor, and even the very existence, of entire groups of working people, including everyday Black workers. In this brilliant corrective, Black Folk, acclaimed historian Blair LM Kelley restores the Black working class to the center of the American story.

James Baldwin’s critique of American society at the height of the civil rights movement brings his prescient thoughts on social isolation, race, and police brutality to a new generation of listeners.

Against the backdrop of bloody battles and political maneuvering, thousands of African Americans spent the Civil War trying to hold their families together. Whether enslaved or free, they strove not only to survive but also to cultivate bonds of family, friendship, and community. This moving book illuminates that struggle through the letters exchanged by African Americans before, during, and just after the war.

The United States is in the grip of a crisis of bad history. Distortions of the past promoted in the conservative media have led large numbers of Americans to believe in fictions over facts, making constructive dialogue impossible and imperiling our democracy. In Myth America, Kevin M. Kruse and Julian E. Zelizer have assembled an all-star team of fellow historians to push back against this misinformation.

Hip Hop Womanist writer and theologian EbonyJanice’s book of essays center a fourth wave of Womanism, dreaming, the pursuit of softness, ancestral reverence, and radical wholeness as tools of liberation. All The Black Girls Are Activists is a love letter to Black girls and Black women, asking and attempting to offer some answers to “Who would black women get to be if we did not have to create from a place of resistance?” by naming Black women’s wellness, wholeness, and survival as the radical revolution we have been waiting for.

In Reckoning with Slavery, Jennifer L. Morgan draws on the lived experiences of enslaved African women in the sixteenth and seventeenth centuries to reveal the contours of early modern notions of trade, race, and commodification in the Black Atlantic.

Born in 1945, Ruth J. Simmons grew up the twelfth child of sharecroppers. Her first home had no running water, no electricity, no books to read. Yet despite this—or, in her words, because of it—Simmons would become the first Black president of an Ivy League university. The former president of Smith College, Brown University, and Prairie View A&M, Texas’s oldest HBCU, Simmons has inspired generations of students as she herself made history.