Showing results for "Death" in African American

1926: Harriet Stone, a liberated, educated Black woman, and Lovey, the orphaned, biracial, 12-year-old she is bound to protect are Harlem-bound, embarking on a new, hopefully less traumatic, chapter in their lives. They have been invited to move from Connecticut by Harriet’s cousin, Junetta Plum, who runs a boarding house for independent-minded single women. It’s a bold move since Harriet has never met Junetta, but the fatalities of the Spanish flu and other tragedies have already forced her and Lovey to face their worst fears.

When two best friends’ hobby of crashing weddings takes a deadly turn, they’re forced to embark on a road trip of survival in this addictive thriller. “The hairpin turns and killer twists of this propulsive bad-girls-gone-worse thriller will have you hanging on for dear life!”—Layne...

“Elisabeth Thomas had me mesmerized from the first page. Dreamy and brimming with dread, Catherine House will swallow you whole."" — Rory Power, New York Times bestselling author of Wilder Girls Trust us, you belong here. A gothic-infused debut of literary suspense, set within a secluded...

After solving a string of murders and getting used to living with a snarky ghost, Gethsemane Brown tries to rest easy. But in this second book in the series, her roomie disappears, her landlord decides to sell her cottage to a developer, and her brother-in-law comes to visit. The ever-resourceful African American musician and expatriate scrambles to call her spectral roomie back from beyond and to find a way to save the cottage from destruction, but those concerns take a backseat when her brother-in-law is accused of stealing a valuable antique.

KoKo is back with a thirst for revenge. Treachery looms thick in her midst as she plants the brutal Kiss of Death on whoever is in her way. The plot thickens while KoKo is on her quest to find everyone involved in Kayson's murder. A guilty confession. Past family secrets that set a chain of events into play may cause her whole world to come crumbling down. Will KoKo maintain the empire that Kayson left behind or will the secrets and deception ultimately destroy her?

Here's an endearing story of life-altering events. Chantell has it all: a great career, beautiful clothes, lots of spending money, a cool car, and a picture-perfect fiancé. So why is she so unhappy? She promises God that she will become a better person as her father lays on his deathbed. But keeping that promise unravels Chantell's seemingly perfect life.

In pursuit of his brother, a man traverses the fantastical and grotesque landscape of Hell, pondering their now fractured relationship.

In The Day-Breakers, poet Michael Fraser imagines the selflessness of Black soldiers who fought for the Union during the American Civil War, of whom hundreds were African Canadian, fighting for the freedom of their brethren and the dawning of a new day.

In these poems, Kleber-Diggs names delight in the same breath as loss. Moments suffused with love—teaching his daughter how to drive; watching his grandmother bake a cake; waking beside his beloved to ponder trumpet mechanics—couple with moments of wrenching grief—a father’s life ended by a gun; mourning children draped around their mother’s waist; Freddie Gray’s death in police custody. Even in the refuge-space of dreams, a man calls the police on his Black neighbor.

In 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.

Subverting celebrated classics of poetry and mythology and examining horrors from contemporary film and cultural fact, National Book Award-winner Justin Phillip Reed engages darkness as an aesthetic to conjure the revenant animus that lurks beneath the exploited civilities of marginalized people. In these poems, Reed finds agency in the other-than-human identities assigned to those assaulted by savageries of the state. In doing so, he summons a retaliatory, counterviolent black spirit to revolt and to inhabit the revolting.

Indecency is boldly and carefully executed and perfectly ragged. In these poems, Justin Phillip Reed experiments with language to explore inequity and injustice and to critique and lament the culture of white supremacy and the dominant social order. Political and personal, tender, daring, and insightful - the author unpacks his intimacies, weaponizing poetry to take on masculinity, sexuality, exploitation, and the prison industrial complex and unmask all the failures of the structures into which society sorts us.