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First published in 1995, I Am Because We Are has been recognized as a major, canon-defining anthology and adopted as a text in a wide variety of college and university courses. Bringing together writings by prominent Black thinkers from Africa, the Caribbean, and North America, Fred Lee Hord and Jonathan Scott Lee made the case for a tradition of “relational humanism” distinct from the philosophical preoccupations of the West.

Over the past twenty years, however, new scholarly research has uncovered other contributions to the discipline now generally known as “Africana philosophy” that were not included in the original volume. In this revised and expanded edition, Hord and Lee build on the strengths of the earlier anthology while enriching the selection of readings to bring the text into the twenty-first century. In a new introduction, the editors reflect on the key arguments of the book's central thesis, refining them in light of more recent philosophical discourse. This edition includes important new readings by Kwame Gyekye, Oyeronke Oy ewumi­, Paget Henry, Sylvia Wynter, Toni Morrison, Charles Mills, and Tommy Curry, as well as extensive suggestions for further reading.

Discover the visionary legacy of the groundbreaking architect Paul R. Williams, FAIA, one of the most prolific Black architects of the 20th century.

Paul R. Williams (1894–1980), among the first Black members of the American Institute of Architects, was a defining force in shaping the city of Los Angeles and Southern California, yet his impact was undoubtedly global.

Threading together Williams’s biography, social histories of Los Angeles, and transformations in the profession, this richly researched monograph traces his remarkable career against the evolving landscape of Los Angeles and the wider architectural world.

• Presents the first research-driven monograph on preeminent architect Paul R. Williams.
• Features nearly 200 images, including many never-before published drawings, renderings, and archival materials.
• Williams’s expansive oeuvre spans everything from early residential commissions in the 1920s to civic, religious, commercial, and cultural landmarks that came to define Los Angeles’s identity at midcentury.
• Examines the intersection of race, space, and professional practice in twentieth-century American architecture.
• Highlights Williams’s commitment to designing for Black communities and advancing social change through architecture.

Step into the world of a visionary who transformed cities and challenged barriers—this volume invites you to get to know Paul R. Williams and the enduring power of architecture to shape society.

This volume is published to accompany an exhibition on view at the Fisher Museum of Art at the University of Southern California from August 18, 2026, to March 13, 2027, Los Angeles County Museum of Art from November 15, 2026, to May 31, 2027, and Getty Research Institute at the Getty Center from December 15, 2026, to March 14, 2027.

A landmark survey of African American literature about Black experiences of the maritime environment.

The ocean is foundational to the story of Africans in America, beginning with the searing Middle Passage. Initially evoking terror, pain, and death, the ocean also became associated with escape, empowerment, freedom, and home, as over time, African Americans in seaport towns found work, built communities, and gained knowledge from travelers. David R. Anderson shows in this groundbreaking collection of memoir, fiction, poetry, and more that African American maritime literature summons many of the traditional themes—survival in the face of overwhelming natural force, sublimity, demonstration of skill and merit, and self-discovery—but often with an eye on legacies of imperialism, slavery, discrimination, and cultural erasure.

Divided thematically across ten sections that address peril, labor, recreation, and more, the book gathers work by influential writers and intellectuals from the eighteenth century to the present, including: Lucille Clifton, Edwidge Danticat, Frederick Douglass, Alice Dunbar-Nelson, W. E. B. DuBois, Camille T. Dungy, Marcus Garvey, Robert Hayden, Zora Neale Hurston, Major Jackson, Harriet Jacobs, John S. Jacobs, Nella Larsen, Claude McKay, Toni Morrison, Walter Mosley, Natasha Trethewey, Phillis Wheatley, Colson Whitehead, and Kevin Young. 

Focusing on the years from 1922 to 1938, this book revisits an important moment in black cultural history to explore how visual elements were used in poems, novels, and photography to undermine existing stereotypes. Miriam Thaggert identifies and analyzes an early form of black American modernism characterized by a heightened level of experimentation with visual and verbal techniques for narrating and representing blackness. The work of the writers and artists under discussion reflects the creative tension between the intangibility of some forms of black expression, such as spirituals, and the materiality of the body evoked by other representations of blackness, such as “Negro” dialect. 

By paying special attention to the contributions of photographers and other visual artists who have not been discussed in previous accounts of black modernism, Thaggert expands the scope of our understanding of the Harlem Renaissance and contributes to a growing recognition of the importance of visual culture as a distinct element within, and not separate from, black literary studies. 

Thaggert trains her critical eye on the work of James Weldon Johnson, Nella Larsen, George Schuyler, Carl Van Vechten, James Van Der Zee, and Aaron Siskind—artists who experimented with narrative and photographic techniques in order to alter the perception of black images and to question and reshape how one reads and sees the black body. Examining some of the more problematic authors and artists of black modernism, she challenges entrenched assumptions about black literary and visual representations of the early to mid twentieth century. 

Thaggert concludes her study with a close look at the ways in which Harlem and the Harlem Renaissance were reimagined and memorialized in two notable texts—Wallace Thurman's 1932 satire Infants of the Spring and the Metropolitan Museum of Art's controversial 1969 exhibition “Harlem on My Mind: The Cultural Capital of Black America, 1900–1968.”

A new critical edition of Sutton Griggs’s turn-of-the-twentieth-century novel, which continues to shed light on understandings of Black politics.

Sutton E. Griggs’s first novel, originally published in 1899, paints a searing picture of the violent enforcement of disfranchisement and Jim Crow racial segregation. Based on events of the time, including US imperial policies, revolutionary movements, and racial protests, Imperium in Imperio introduces the fictional Belton Piedmont and Bernard Belgrave as “future leaders of their race” and uses these characters to make sense of the violence that marked the dawn of the twentieth century. Taking on contemporary battles over separatism and integration, Griggs’s novel continues to play a crucial role in understandings of Black politics.

Edited and introduced by Tess Chakkalakal and Kenneth W. Warren, this new critical edition offers not only an incisive biographical and historical introduction to the novel and its author but also a wealth of references that make the events and characters of Griggs’s Imperium in Imperio, and its aftermath, accessible to readers today.

Black communities in America have a long history of constructing sanctuaries amid oppression, from the secret hush harbors of slavery to the digital refuges created in response to the resurgence of white supremacist violence in the Trump era. These havens have offered places to grieve and to gather, to imagine freedom when the world denied it, and to practice care and resistance in the face of constant danger. They remind us that even in the darkest moments, Black people have made space to grieve, rest, heal, strategize, and imagine new futures.

In Hush to Harbor traces this enduring sanctuary-making through both historical memory and contemporary expression from the legacy of Freedmen’s Towns and Green Books for Motorists in the Jim Crow era as testaments to Black mobility and mutual protection to present-day digital activism and grassroots organizing that reimagine safety in the public sphere. 

Blending literary criticism, cultural history, and ethnography, Scott demonstrates that sanctuary is not merely a place of retreat but a political and spiritual practice that calls forth a collective act of making space when none is offered. In Hush to Harbor offers not just a chronicle of survival but a blueprint for sustaining Black refuge in a time of urgent need, redefining what it means to be safe in a nation that has never guaranteed safety for Black life.

“Since her earliest plays. . . [Adrienne Kennedy] has been creating frightful and seductive theatrical images of her memories and fantasies. Her black, female protagonists enact Kennedy’s nightmares, then make them ours, enveloping the audience in their relentless anger, madness, and fear . . . time and place shift constantly, plot lines are parceled out in bits, and a contextual frame comes clear gradually, like a reflection is stilling waters.”

From National Book Award winner Patricia Smith 
 
One of the most magnetic and esteemed poets in today’s literary landscape, Patricia Smith fearlessly confronts the tyranny against the black male body and the tenacious grief of mothers in her compelling new collection, Incendiary Art. She writes an exhaustive lament for mothers of the "dark magicians," and revisits the devastating murder of Emmett Till. These dynamic sequences serve as a backdrop for present-day racial calamities and calls for resistance. Smith embraces elaborate and eloquent language— "her gorgeous fallen son a horrid hidden / rot. Her tiny hand starts crushing roses—one by one / by one she wrecks the casket’s spray. It’s how she / mourns—a mother, still, despite the roar of thorns"— as she sharpens her unerring focus on incidents of national mayhem and mourning. Smith envisions, reenvisions, and ultimately reinvents the role of witness with an incendiary fusion of forms, including prose poems, ghazals, sestinas, and sonnets. With poems impossible to turn away from, one of America’s most electrifying writers reveals what is frightening, and what is revelatory, about history. 

Winner, 2017 Los Angeles Times Book Prize 
Finalist, 2018 Pulitzer Prize for Poetry 
Winner, NAACP Image Award for Outstanding Literary Work in the Poetry category  
Winner, 2018 Kingsley Tufts Poetry Award 
Winner, 2018 BCALA Best Poetry Award 
Winner, Abel Meeropol Award for Social Justice 
Finalist, Neustadt International Prize for Literature 
Winner, 2021 Ruth Lilly Poetry Prize

A galaxy of voices. A universe of belonging.

The innovative fictions in Infinite Constellations showcase the voices and visions of 30 remarkable writers, both new and established, from the global majority: Native American/First Nation writers, South Asian writers, East Asian writers, Black American writers, Latinx writers, and Caribbean and Middle Eastern writers. These are visions both familiar and strange, but always rooted in the mystery of human relationships, the deep honoring of memory, and the rootedness to place and the centering of culture.

The writers in this anthology mirror, instruct, bind and unbind, myth-make and myth-invert, transform and transmute, make us belly-laugh or hum our understanding, gasp or whisper gently, and remember that sometimes we need to holler and fight as we grieve. Any dangers herein, imagined or observed in poem and story, transport us: moving from latent to extant, then unleashed.

This work does not presume; it presents and blossoms, creating a constellation of appearances, a symphony of belonging.

“In collecting this work,” note editors Khadijah Queen and K. Ibura, “we felt humbled by the love threaded throughout the voices speaking to us in stories and poems that vault beyond expectation and settle in our consciousness as an expansion of what’s possible when we tend to one another with intention. We felt lifted, held aloft in these arrangements of language. We hope that as you read each story and poem, you will find the same sense of empowerment and celebration that we know has sustained us over countless generations, and in their beauty and humor and intelligence and complexity, continue to enrich us still.”

CONTRIBUTORS
George Abraham / Kenzie Allen / Shreya lla Anasuya / Thea Anderson / Wendy Chin-Tanner / Alton Melvar M. Depanas / Yohanca Delgado / Jennifer Elise Foerster / Aerik Francis / André O. Hoilette / Brian K. Hudson / K. Ibura / Pedro Iniguez / Ruth Ellen Kocher / Ra’Niqua Lee / Tonya Liburd / Kenji C. Liu / Shalewa Mackall / Lucien Darjeun Meadows / Melanie Merle / Juan J. Morales / Thirii Myo Kyaw Myint / Cindy Juyound Ok / Daniel José Older / Soham Patel / Lynn C. Pitts/ Khadijah Queen / Sheree Renée Thomas /  Sarah Sophia Yanni / dg nanouk okpik / shakirah peterson
 

Intransigent Imaginaries: Black Ambivalence in Media and Culture examines why Blackness continues to function as antagonism in fantasy, science fiction, and horror, even in contemporary films and television created by Black artists and celebrated for their progressive politics. Drawing on Afropessimism, psychoanalysis, and genre theory, Jerome P. Dent, Jr. argues that genre itself organizes desire, threat, and narrative closure in ways that consistently position Blackness as danger, excess, or containment. Rather than focusing on whether representations are positive or negative, the book shifts attention to the narrative architectures and visual economies that make those images possible in the first place. Through close readings of works such as Get Out, Us, Nope, Black Panther, A Wrinkle in Time, and major science fiction franchises, Intransigent Imaginaries challenges dominant assumptions about progress, representation, and repair. Refusing the consolations of uplift, the book insists on analytic clarity, asking what criticism looks like when redemption is structurally foreclosed.

An incantation of strength and solace for persisting in twenty-first-century America

“History doesn’t repeat, it rhymes.” In his sweeping third collection, Charleston brings a poet’s ear for echo and rhythm to bear on American history and life after 2016. For Charleston, these rhymes cut two ways: the long tradition of American racism and fascism, and the steady pulse of Black persistence. The collection’s titular invocation frames each poem, at times an oratory to rally a crowd, in other moments a private prayer whispered as the speaker gathers himself to face another day. Charleston insists that should we cede memory of our national biography—whether to repression or indifference—we will witness the country’s dissolution into something unrecognizable to many, yet all too familiar to its most marginalized people. But with each reiteration and riff, he also invokes a tenuous hope—that if we summon an American history of Black resistance, we might still make a more perfect union.