Since its first publication in 2001, in Canada, Dionne Brand’s groundbreaking exploration of being in the Black diaspora, A Map to the Door of No Return, has emerged as a modern classic. The door, in Brand’s iconic schema, represents the point of rupture where the ancestors of the Black diaspora departed one world for another: the place where all names were forgotten, and all beginnings recast.

One evening, as a young boy growing up in Benghazi, Khaled hears a bizarre short story read aloud on the radio, about a man being eaten alive by a cat, and has the sense that his life has been changed forever. Obsessed by the power of those words—and by their enigmatic author, Hosam Zowa—Khaled eventually embarks on a journey that will take him far from home, to pursue a life of the mind at the University of Edinburgh. There, thrust into an open society that is miles away from the world he knew in Libya, Khaled begins to change.

An exhilarating, twisted tale of desire, suspicion, and obsession between two women staying in the same house in the Dutch countryside during the summer of 1961—a powerful exploration of the legacy of WWII and the darker parts of our collective past.

On a lonely wharf a clerk in an ink blue coat inspects bales and bales of paper that hold a poet's accumulated left-hand pages--the unwritten, the withheld, the unexpressed, the withdrawn, the restrained. In The Blue Clerk award-winning poet Dionne Brand stages a conversation and an argument between the poet and the Blue Clerk, who is the keeper of the poet's pages.

A slender novel of epic power, Orbital deftly snapshots one day in the lives of six women and men hurtling through space—not towards the moon or the vast unknown, but around our planet. Selected for one of the last space station missions of its kind before the program is dismantled, these astronauts and cosmonauts—from America, Russia, Italy, Britain, and Japan—have left their lives behind to travel at a speed of over seventeen thousand miles an hour as the earth reels below.

In 2020, Olivia Laing began to restore an eighteenth century walled garden in Suffolk, an overgrown Eden of unusual plants. The work brought to light a crucial question for our age: Who gets to live in paradise, and how can we share it while there's still time? Moving between real and imagined gardens, from Milton's Paradise Lost to John Clare's enclosure elegies, from a wartime sanctuary in Italy to a grotesque aristocratic pleasure ground funded by slavery, Laing interrogates the sometimes shocking cost of making paradise on earth.

Ta-Nehisi Coates originally set out to write a book about writing, in the tradition of Orwell’s classic “Politics and the English Language,” but found himself grappling with deeper questions about how our stories—our reporting and imaginative narratives and mythmaking—expose and distort our realities. In the first of the book’s three intertwining essays, Coates, on his first trip to Africa, finds himself in two places at once: in Dakar, a modern city in Senegal, and in a mythic kingdom in his mind.

In a classroom in Seoul, a young woman watches her Greek language teacher at the blackboard. She tries to speak but has lost her voice. Her teacher finds himself drawn to the silent woman, for day by day he is losing his sight. Soon the two discover a deeper pain binds them together. For her, in the space of just a few months, she has lost both her mother and the custody battle for her nine-year-old son. For him, it's the pain of growing up between Korea and Germany, being torn between two cultures and languages, and the fear of losing his independence.

This passionate autobiography—at once history lesson, prison memoir, metaphysical inquiry, love story, and cry for justice—provides insights into the Israeli occupation and the struggle of the Palestinian people.

Paris, 1806. The renowned botanist Michel Adanson lies on his deathbed, the masterwork to which he dedicated his life still incomplete. As he expires, the last word to escape his lips is a woman’s name: Maram. The key to this mysterious woman’s identity is Adanson’s unpublished memoir of the years he spent in Senegal, concealed in a secret compartment in a chest of drawers. Therein lies a story as fantastical as it is tragic: Maram, it turns out, is none other than the fabled revenant.

Two little girls stand with their heads bowed in my living room. I’m told they’re my granddaughters. Daisy is nine, and Alice seven. Daisy is the spitting image of her mother. This is the first time I’ve met them since my daughter and I fell out after she married that waste of space, Vince. They’ve come to live with me because their mother — my daughter — was murdered. In her own home while they slept close by. I think Vince killed her. But the police can’t prove it. I’ve always known he was no good. He treated my daughter like dirt. I said he’d cheat on her — but she wouldn’t listen.

Who is Audrey Hoedemaker? It's a question her sister Maureen has heard more times than she can count, and she doesn't know what the short answer would be. Little sister, troubled teen, backpacker, musical theatre coach, con artist, childcare worker. Murderer. A tragic, traumatic childhood casts a long shadow on the Hoedemaker sisters. Maureen has worked hard to move beyond the violence of the past and build a good, honest life for herself. Audrey, however, just can't seem to do the same, careening from one state of chaos to another.

Lucas knows the perfect night entails just three things: video games, wine, and pad thai. Peanuts are a must! Other people? Not so much. Why complicate things when he’s happy alone? Then one day the apartment board, a vexing trio of authority, rings his doorbell. And Lucas’s solitude takes a startling hike. They demand to see his frying pan. Someone left one next to the recycling room overnight, and instead of removing the errant object, as Lucas suggests, they insist on finding the guilty party. But their plan backfires. Colossally.

It’s 1984, and life has changed beyond recognition. Airstrip One, formerly known as Great Britain, is a place where Big Brother is always watching, and nobody can hide. Except, perhaps, for Winston Smith. Whilst working at the Ministry of Truth, rewriting history, he secretly dreams of freedom. And in a world where love and sex are forbidden, where it’s hard to distinguish between friend and foe, he meets Julia and O’Brien and vows to rebel.

The 13 chapters of The Art of War, each devoted to one aspect of warfare, were compiled by the high-ranking Chinese military general, strategist, and philosopher Sun-Tzu. In spite of its battlefield specificity, The Art of War has found new life in the modern age, with leaders in fields as wide and far-reaching as world politics, human psychology, and corporate strategy finding valuable insight in its timeworn words.

Since its first publication in 2001, in Canada, Dionne Brand’s groundbreaking exploration of being in the Black diaspora, A Map to the Door of No Return, has emerged as a modern classic. The door, in Brand’s iconic schema, represents the point of rupture where the ancestors of the Black diaspora departed one world for another: the place where all names were forgotten, and all beginnings recast.

In England in the 1700s, a woman who was an intellectual, spoke out, or wrote professionally was considered unnatural. After all, as the wisdom of the era dictated, a clever woman—if there were such a thing—would never make a good wife. But a circle of women called the Bluestockings did something extraordinary: Coming together in glittering salons to discuss and debate as intellectual equals with men, they fought for women to be educated and to have a public role in society. In this intimate and revelatory history, Susannah Gibson delves into the lives of these pioneering women.

How do the disillusioned, the forgotten, and the persecuted not merely hold on to life but expand its possibilities and preserve its beauty? What, in other words, does utopia look like in black? These questions animate Aaron Robertson’s exploration of Black Americans' efforts to remake the conditions of their lives. Writing in the tradition of Saidiya Hartman and Ta-Nehisi Coates, Robertson makes his way from his ancestral hometown of Promise Land, Tennessee, to Detroit—the city where he was born, and where one of the country’s most remarkable Black utopian experiments got its start.

Some stories take more than one lifetime to tell. There are wrongs that echo through the ages, friendships that outpace the claws of death, loves that leave their mark on civilization, and promises that nothing can break. This is one such story. Annelid and Leveret met as children in the middle of the Sri Lankan civil war. They found each other in a torn-up nation, peering through propaganda to grasp a deeper truth. And in a demon-haunted wood, another act of violence linked them and propelled their souls on a journey throughout the ages.

In a small town in the north of Australia, a mysterious cloud heralds both an ecological catastrophe and a gathering of the ancestors. A crazed visionary looks to donkeys to solve the global climate crisis and the economic dependency of the Aboriginal people. His wife, seeking solace from his madness, follows the dance of butterflies and scours the internet to find out how her Aboriginal/Chinese family could be repatriated to China. One of their sons, named Aboriginal Sovereignty, is determined to commit suicide.

Smoke Kings is a powerful and propulsive novel with a diverse and unforgettable cast of characters. Like Steph Cha's Your House Will Pay it explores decades of racial tensions through a fictional landscape where the line between justice and revenge is blurred.

From the New York Times bestselling author of The History of White People and Old in Art School, a finalist for the NBCC Award, comes a comprehensive new collection of essays spanning art, politics, and the legacy of racism that shapes American history as we know it. These essays resist easy answers in favor of complexity, the inescapable sense of our country’s potential thwarted by its failures. This collection will surely solidify Painter’s place among the finest critics and writers of the last half century.

Distilled over many years from Henry Louis Gates, Jr.’s, legendary Harvard introductory course in African American studies, The Black Box: Writing the Race, is the story of Black self-definition in America through the prism of the writers who have led the way. From Phillis Wheatley and Frederick Douglass, W. E. B. Du Bois and Booker T. Washington, to Zora Neale Hurston and Rich­ard Wright, James Baldwin and Toni Morrison—these writers used words to create a livable world, a home, for Black people destined to live out their lives in a bitterly racist society.

The inspiring story of evangelicals in Cincinnati struggling to bridge racial divides in their own church, their community, and across the nation.

Americans have been leaving their churches. Some drift away. Some stay home. And some have been searching for—and finding—more authentic ways to find and follow Jesus. This is the story of one such “radical outpost of Jesus followers” dedicated to service, the Sermon on the Mount, and working toward justice for all in this life, not just salvation for some in the next. Part of a little-known yet influential movement at the edge of American evangelicalism, Philadelphia’s Circle of Hope grew for forty years, planted four congregations, and then found itself in crisis.

It’s the middle of the summer before her fiftieth birthday and Alexandra is just barely hanging on. Grieving her father and pining for her home country of Zimbabwe, chafing and straining against the stresses and strictures of midlife as a mother and ex-wife, and piecing her way through a disastrous relationship with a younger woman that lurches and buckles, but never quite breaks. And then—suddenly and incomprehensibly—her son Fi, at 21 years old, dies in his sleep. What happens next is what Alexandra details in this book.

George Frideric Handel’s Messiah is arguably the greatest piece of participatory art ever created. Adored by millions, it is performed each year by renowned choirs and orchestras, as well as by audiences singing along with the words on their cell phones. But this work of triumphant joy was born in a worried age. Britain in the early Enlightenment was a place of astonishing creativity but also the seat of an empire mired in war, enslavement, and conflicts over everything from the legitimacy of government to the meaning of truth.

The riotous, raucous, and deeply resonant debut novel from “one of the best story writers in the English language today” (Financial Times), Wild Houses follows two outsiders caught in the crosshairs of a small-town revenge kidnapping gone awry.

For all the attempts to understand the state of American politics and the blue/red divide, we've ignored what economic and cultural loss can do to pride. What happens, Arlie Russell Hochschild asks, when a proud people in a hard-hit region suffer the deep loss of pride and are confronted with a powerful political appeal that makes it feel "stolen"? Hochschild's research drew her to Pikeville, Kentucky, in the heart of Appalachia, within the whitest and second-poorest congressional district in the nation.

The Coin’s narrator is a wealthy Palestinian woman with impeccable style and meticulous hygiene. And yet the ideal self, the ideal life, remains just out of reach: her inheritance is inaccessible, her homeland exists only in her memory, and her attempt to thrive in America seems doomed from the start. In New York, she strives to put down roots. She teaches at a school for underprivileged boys, where her eccentric methods cross boundaries. She befriends a homeless swindler, and the two participate in an intercontinental scheme reselling Birkin bags.