” In The Three Mothers: How the Mothers of Martin Luther King, Jr., Malcolm X, and James Baldwin Shaped a Nation, Anna Malaika Tubbs tells three stories that are often overlooked but deeply important to civil rights history. Tubbs explores the lives of “the women before the men,” as she calls them: Alberta King, Louise Little and Berdis Baldwin. Though each woman came from a different part of the U.S. and the Caribbean, faced diverse social and economic challenges and had divergent interests and ambitions, Tubbs knew that, because the women were so close in age (by some accounts their birthdays are only six years apart), she would find common ground among these women’s lives that superseded their connections to famous men.
Tubbs intentionally chose the mothers of leaders whose lives have been well documented so she could focus on the women’s lives instead. In this way, The Three Mothers offers space for Tubbs, a debut author, to weave biography and social commentary with the complex history of Black women living in the 20th century. Tubbs also makes room for moments of discovery that help us better understand how each of these civil rights icons’ social activism and artistic endeavors were shaped by their mothers’ shining examples. For instance, Alberta King’s radical maternal tenderness set the groundwork for how her son would view himself as a “mother” birthing a dream of racial equality. We also learn how Louise Little’s childhood love of dictionaries would lead her incarcerated son, Malcolm, on a quest for knowledge that would reroute his early delinquency, and how Berdis Baldwin would pass on her gift of both the written and spoken word to her oldest son, James.
As Tubbs explained in an interview for BookPage, there is a troubling binary between motherhood and intellectual labor, and her writing about three women whose sons’ lives were shaped by their mothers (and not vice versa) is an attempt to turn that binary on its head. The Three Mothers does just that, expanding conversations about King, Malcolm X and Baldwin beyond what these men gave the world to include what the world gave them through the lives of three intelligent, ambitious, trailblazing women.”
““There is no perfect exegesis,” writes Catherine E. McKinley about the photographs in The African Lookbook: A Visual History of 100 Years of African Women, which presents just over 150 pictures of African women between the years 1870 and 1970. Any composed explanation of the photographs would be fictional since so much about them is unknowable. Many subjects are anonymous and many images undated. Rather than an exegesis, then, what McKinley offers in this compelling, quixotic book is something closer to a testament—a bold declaration of the enduring strength, beauty and power of African women, many of whom gaze at the camera with evident self-possession.
The book is a pleasure to absorb, whether you already know about the history of photography on the African continent or are new to the conversation. All the images are from McKinley’s personal collection, gathered over many years, and they seem to announce themselves with joy. From colonial-era photographs to studio portraits to postcolonial expressions of cosmopolitan poise, the collection offers a vibrant, inchoate and compelling snapshot of African women over time.
McKinley accompanies the photographs with prose, occasionally explaining an item in the picture—for example, “She wears the silver chains of the Ga people.” In response to other images, McKinley shares her wonder: “Whose room is this? Who chose the flower for my lady’s hair?” In other moments, McKinley interprets the subjects’ expressions, as when she describes the faces of three young women: “The girls have a look of expectation: an awareness that the world is large and made up of things they have the gumption for.” In all cases, McKinley helps the reader to see more, and thus think more carefully, about the image at hand. She gets close to the pictures without forcing a narrative that oversteps what can be known from the evidence.
Throughout The African Lookbook, McKinley puts African women at the center of their own stories, exploring their pictures with admiration and respect and inviting readers to look alongside her.”
“Two lexicographers employed by the same company and separated by a century are at the heart of The Liar’s Dictionary, an imaginative, funny, intriguing novel by Eley Williams, author of the critically lauded 2017 short story collection Attrib. and Other Stories.
At the end of the 19th century in London, Swansby House is a place of high hopes and bustling industriousness. There, Peter Winceworth writes the letter “S” entries for Swansby’s New Encyclopaedic Dictionary. He’s also in a pickle of his own making: From childhood, he has affected a lisp as a means to get special treatment, and the stress of maintaining the ruse ensures an undercurrent of discomfiture in his every interaction. Combine that with his irritatingly extroverted co-workers and an unrequited crush on a colleague’s fiancée, and he needs a release—which comes in the form of false entries (or mountweazels) that he secretly inserts in the dictionary as an act of quiet, clever rebellion.
In the present day, intern Mallory is the sole employee of Swansby family descendant David, who is determined to complete the dictionary after a century of lying fallow. Production was halted by the onset of World War I, during which the staff perished and the printing presses were melted down for munitions. David wants to give the dictionary new life by digitizing it, but first Mallory must suss out and remove the mountweazels that pepper its pages. She’s also assigned to phone-answering duty, which isn’t as mundane as it sounds: Every day, a stranger threatens violence because the definition of marriage is changing. These calls are particularly distressing because Mallory is struggling with coming out.
Williams ushers readers back and forth in time as Peter and Mallory wrangle with capricious office politics, unresolved romantic feelings and the assorted indignities of being human, often to hilarious effect. The author has a gift for writing set pieces and inner monologues that at first seem quotidian and then gradually spiral—or soar—into delightful absurdity.
In The Liar’s Dictionary, Williams has created a supremely entertaining and edifying meditation on how language records and reflects how we see the world, and what we wish it could be.”
“Klara and the Sun, the first novel by Kazuo Ishiguro since he was awarded the Nobel Prize in Literature, tells the story of Klara, an Artificial Friend with outstanding observational qualities, who, from her place in the store, watches carefully the behavior of those who come in to browse, and of those who pass on the street outside. She remains hopeful that a customer will soon choose her.
Klara and the Sun is a thrilling book that offers a look at our changing world through the eyes of an unforgettable narrator, and one that explores the fundamental question: what does it mean to love?”
“When Dr. Philip Taiwo is called on by a powerful Nigerian politician to investigate the public torture and murder of three university students in remote Port Harcourt, he has no idea that he’s about to be enveloped by a perilous case that is far from cold.
Philip is not a detective. He’s an investigative psychologist, an academic more interested in figuring out the why of a crime than actually solving it. But when he steps off the plane and into the dizzying frenzy of the provincial airport, he soon realizes that the murder of the Okriki Three isn’t as straightforward as he thought. With the help of his loyal and streetwise personal driver, Chika, Philip must work against those actively conspiring against him to parse together the truth of what happened to these students.
A thrilling and atmospheric mystery, and an unforgettable portrait of the contemporary Nigerian sociopolitical landscape, Lightseekers is a wrenching novel tackling the porousness between the first and third worlds, the enduring strength of tribalism and homeland identity, and the human need for connection in the face of isolation.”
“The long-anticipated sequel to Sister Souljah’s million copy bestseller The Coldest Winter Ever.
Winter Santiaga hit time served. Still stunning, still pretty, still bold, still loves her father more than any man in the world, still got her hustle and high fashion flow. She’s eager to pay back her enemies, rebuild her father’s empire, reset his crown, and ultimately to snatch Midnight back into her life no matter which bitch had him while she was locked up. But Winter is not the only one with revenge on her mind. Simone, Winter’s young business partner and friend, is locked and loaded and Winter is her target. Will she blow Winter’s head off? Can Winter dodge the bullets? Or will at least one bullet blast Winter into another world? Either way Winter is fearless. Hell is the same as any hood and certainly the Brooklyn hood she grew up in. That’s what Winter thinks.
A heart warming, heart burning, passionate, sexual, comical, and completely original adventure is about to happen in real time—raw, shocking, soulful, and shameless. True fans won’t let Winter travel alone on this amazing journey.”