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A richly illustrated exploration of Black culture at its most wildly imaginative and artistically ambitious, In the Black Fantastic assembles art and imagery from across the African diaspora. Embracing the mythic and the speculative, it recycles and reconfigures elements of fable, folklore, science fiction, spiritual traditions, ceremonial pageantry, and the legacies of Afrofuturism. In works that span photography, painting, sculpture, cinema, graphic arts, music and architecture, In the Black Fantastic shows how speculative fictions in Black art and culture are boldly reimagining perspectives on race, gender and identity.

Standing apart from Western narratives of progress and modernity premised on the historical subjugation of people of color, In the Black Fantastic celebrates the ways that Black artists draw inspiration from African-originated myths, beliefs, and knowledge systems, confounding the Western dichotomy between the real and unreal, the scientific and the supernatural. Featuring more than 300 color illustrations, this beautifully designed book brings together works by leading artists such as Kara Walker, Chris Ofili, and Ellen Gallagher; explores groundbreaking films like Daughters of the Dust and Get Out; considers the radical politics of pan-Africanism and postcolonialism; and much more.

n his much-anticipated follow-up to The Crown Ain't Worth Much, poet, essayist, biographer, and music critic Hanif Abdurraqib has written a book of poems about how one rebuilds oneself after a heartbreak, the kind that renders them a different version of themselves than the one they knew. It's a book about a mother's death, and admitting that Michael Jordan pushed off, about forgiveness, and how none of the author's black friends wanted to listen to "Don't Stop Believin'." It's about wrestling with histories, personal and shared. Abdurraqib uses touchstones from the world outside—from Marvin Gaye to Nikola Tesla to his neighbor's dogs—to create a mirror, inside of which every angle presents a new possibility.

Apart from a handful of exotic--and almost completely unreliable--tales surrounding his life, Richard Potter is almost unknown today. Two hundred years ago, however, he was the most popular entertainer in America--the first showman, in fact, to win truly nationwide fame. Working as a magician and ventriloquist, he personified for an entire generation what a popular performer was and made an invaluable contribution to establishing popular entertainment as a major part of American life. His story is all the more remarkable in that Richard Potter was also a black man. This was an era when few African Americans became highly successful, much less famous. As the son of a slave, Potter was fortunate to have opportunities at all. At home in Boston, he was widely recognized as black, but elsewhere in America audiences entertained themselves with romantic speculations about his "Hindu" ancestry (a perception encouraged by his act and costumes). Richard Potter's performances were enjoyed by an enormous public, but his life off stage has always remained hidden and unknown. Now, for the first time, John A. Hodgson tells the remarkable, compelling--and ultimately heartbreaking--story of Potter's life, a tale of professional success and celebrity counterbalanced by racial vulnerability in an increasingly hostile world. It is a story of race relations, too, and of remarkable, highly influential black gentlemanliness and respectability: as the unsung precursor of Frederick Douglass, Richard Potter demonstrated to an entire generation of Americans that a black man, no less than a white man, could exemplify the best qualities of humanity. The apparently trivial "popular entertainment" status of his work has long blinded historians to his significance and even to his presence. Now at last we can recognize him as a seminal figure in American history

In his greatly anticipated new full-length book of poetry, the first since The Dead Emcee Scrolls in 2006, “the poet laureate of hip-hop” (CNN) Saul Williams presents his ideas, observations, realizations, dreams, and questions about the state of America, the American psyche, and what it means to be American.

After four years abroad, Williams returned to the United States and found his head twirling with thoughts on race, class, gender, finance, freedom, guns, cooking shows, dog shows, superheroes, not-so-super politicians—everything that makes up our country. US(a.) is a collection of poems that embodies the spirit of a culture that questions sentiments and realities, embracing a cross-section of pop culture, hip-hop, and the greater world politic of the moment. Williams explores what social media may only hint at—times and realities have changed; there is a connect and a disconnect. We are wirelessly connected to a past and path to which we are chained. Saul Williams stops and frisks the moment, makes it empty its pockets, and chronicles what’s inside. Here is an extraordinary book that will find its place in the hands and minds of a new generation. [editor summary]

Olaf Hajek is currently one of the worlds most successful and well-known illustrators. His work can be seen in publications including the New York Times and the Guardian, in advertisements for companies such as Bacardi and Daimler Benz, as well as on stamps for Great Britains Royal Mail. Despite the diversity of his clientele, Hajek makes no aesthetic compromises. His characteristic style is what makes his work appealing to a broad audience and range of clients. Now his personal work is garnering increasing attention on the international art market. Hajeks colorful illustrations and textured paintings are infused with a folkloristic na*vet and freshness. Masterfully melding influences from West African and Latin American art, he creates surreal juxtapositions of fairytale fantasies and disordered realities. His magical realism enriches the perspective of anyone viewing his work. Black Antoinette is a collection of Olaf Hajeks most recent work that was created over the last three years. Consisting mostly of advertising and editorial contracts, commercial portraits, and fashion illustration, the examples in this book showcase a remarkable style that has become more free and painterly during this time. In his foreword, Philipp Demandt, the head of Berlins Old National Gallery, positions Olaf Hajek at the nexus of the seemingly opposing realms of art and contract work. [editor summary]

An Oscar-nominated documentary narrated by Samuel L. Jackson, I AM NOT YOUR NEGRO explores the continued peril America faces from institutionalized racism.

In 1979, James Baldwin wrote a letter to his literary agent describing his next project, Remember This House. The book was to be a revolutionary, personal account of the lives and successive assassinations of three of his close friends--Medgar Evers, Malcolm X and Martin Luther King, Jr. At the time of Baldwin's death in 1987, he left behind only thirty completed pages of his manuscript.

Now, in his incendiary new documentary, master filmmaker Raoul Peck envisions the book James Baldwin never finished. The result is a radical, up-to-the-minute examination of race in America, using Baldwin's original words and flood of rich archival material. I AM NOT YOUR NEGRO is a journey into black history that connects the past of the Civil Rights movement to the present of #BlackLivesMatter. It is a film that questions black representation in Hollywood and beyond. And, ultimately, by confronting the deeper connections between the lives and assassination of these three leaders, Baldwin and Peck have produced a work that challenges the very definition of what America stands for.