Nearly killed while trying to win back his ancestral home, Black Richard MacCullough is left scarred and mangled; but some scars run far deeper than mere skin. No longer the handsome devil or kind man of his youth, now he focuses solely on rebuilding everything that was lost to the brutal Chisolms and traitorous MacRays. Revenge -- while not nearly as important as keeping his clan from starving – is the only thing that keeps his bruised heart beating. With his clan on the brink of starvation and annihilation, Black Richard doesn’t believe his life could get worse. Until King David II decides to put an end to the border wars himself, via a marriage between Black Richard and Aeschene MacRay, the daughter of his sworn enemy. Locked away and all but forgotten because she is deemed imperfect and useless by her father, Aeschene MacRay holds no hope of ever having a husband and family of her own. The only thing she can hope for is that her vision will miraculously return and she will regain her father’s approval. But when news arrives that she is to be married off to the chief of her father’s enemy, she has only two choices: put her faith and hope in the monster that is Black Richard MacCullough or remain in the prison her father has created for her. When you’ve lost everything, any risk is worth the taking.

Deep in the heartland of the United Sentry States are the burning ruins of the Black City, a melting pot simmering with hostility as humans and Darklings struggle to rebuild their lives in the aftermath of a brutal and bloody war. A wall now divides the city separating the two races. Trapped on the wrong side of the wall is 16 year old hustler Ash Fisher, a half blood darkling who'll do whatever it takes to survive, including selling his addictive venom Haze to support his dying mother. When he meets Natalie, hatred soon turns to a love that could be punishable by death.

A SERIAL KILLER IS ON THE LOOSE IN INVERNESS The Saga of the MacCulloughs continues … Lachlan MacCullough doesn’t want to be a laird. He never did. But when his cousin, Black Richard, asks him to rule the recently conquered holdings of Randall Chisolm until Black Richard’s first born is old enough to do so, he cannot deny the request. Even though it will take him away from the one woman he wants … Keevah. Keevah cannot escape her past. Known as the auld whore, not even her friendship with Black Richard’s wife, Aeschene, will spare her the rumors and slurs that have haunted her for years. But there are worse things than being shunned. When Keevah receives word that an old and dear friend is dying, she must return to Inverness to make her goodbyes and fulfill an old promise. That twist of fate brings her together with Lachlan once more—a man she loves but feels desperately unworthy of. It also puts her in the path of a deranged killer intent on ridding the world of prostitutes. Will she find safety and happiness in Lachlan’s arms, or will she pay the ultimate price for the sins of her past?

A picture book about immigration, Watch Me is based on the author's father's own story. Joe came to America from Africa when he was young. He worked hard in school, made friends, and embraced his new home. Like so many immigrants before and after him, Joe succeeded when many thought he would fail. In telling the story of how his father came to America, Doyin Richards tells the story of many immigrants, and opens the experience up to readers of all backgrounds. Here is a moving and empowering story of how many different people, from different places, make us great. Acclaimed artist Joe Cepeda brings the story to life with beautiful paintings, full of heart.

A special 75th anniversary edition of Richard Wright's powerful and unforgettable memoir, with a new foreword by John Edgar Wideman and an afterword by Malcolm Wright, the author’s grandson. When it exploded onto the literary scene in 1945, Black Boy was both praised and condemned. Orville Prescott of the New York Times wrote that “if enough such books are written, if enough millions of people read them maybe, someday, in the fullness of time, there will be a greater understanding and a more true democracy.” Yet from 1975 to 1978, Black Boy was banned in schools throughout the United States for “obscenity” and “instigating hatred between the races.” Wright’s once controversial, now celebrated autobiography measures the raw brutality of the Jim Crow South against the sheer desperate will it took to survive as a Black boy. Enduring poverty, hunger, fear, abuse, and hatred while growing up in the woods of Mississippi, Wright lied, stole, and raged at those around him—whites indifferent, pitying, or cruel and Blacks resentful of anyone trying to rise above their circumstances. Desperate for a different way of life, he headed north, eventually arriving in Chicago, where he forged a new path and began his career as a writer. At the end of Black Boy, Wright sits poised with pencil in hand, determined to “hurl words into this darkness and wait for an echo.” Seventy-five years later, his words continue to reverberate. “To read Black Boy is to stare into the heart of darkness,” John Edgar Wideman writes in his foreword. “Not the dark heart Conrad searched for in Congo jungles but the beating heart I bear.” One of the great American memoirs, Wright’s account is a poignant record of struggle and endurance—a seminal literary work that illuminates our own time.

Black Heart is a provocative and polemical critique of African American literary studies at the beginning of the twenty-first century. Through a series of sharp and insightful essays on a wide range of critical thinkers, Phillip M. Richards traces what he sees as an erosion of moral reflection in African American literary culture - a process that has left contemporary black academic criticism socially, politically, and culturally hollow. Exploring the work of Henry Louis Gates, Jr., Michael Dyson, Karla Holloway and others, Black Heart sets forth the rhetorical strategies of present-day African American critical writing, and probes the ethical dimensions of its institutional life in the academy, the media, and the public sphere. Richards undertakes to recover the procedures by which cultural and moral value may be recovered for black literary culture and to establish the possibilities for a new humanism in African American writing and literary culture.

Ash must choose between saving the Darklings or saving Natalie.