The instant New York Times bestseller and companion book to the PBS series. “Absolutely brilliant . . . A necessary and moving work.” —Eddie S. Glaude, Jr., author of Begin Again “Engaging. . . . In Gates’s telling, the Black church shines bright even as the nation itself moves uncertainly through the gloaming, seeking justice on earth—as it is in heaven.” —Jon Meacham, New York Times Book Review From the New York Times bestselling author of Stony the Road and The Black Box, and one of our most important voices on the African American experience, comes a powerful new history of the Black church as a foundation of Black life and a driving force in the larger freedom struggle in America. For the young Henry Louis Gates, Jr., growing up in a small, residentially segregated West Virginia town, the church was a center of gravity—an intimate place where voices rose up in song and neighbors gathered to celebrate life's blessings and offer comfort amid its trials and tribulations. In this tender and expansive reckoning with the meaning of the Black Church in America, Gates takes us on a journey spanning more than five centuries, from the intersection of Christianity and the transatlantic slave trade to today’s political landscape. At road’s end, and after Gates’s distinctive meditation on the churches of his childhood, we emerge with a new understanding of the importance of African American religion to the larger national narrative—as a center of resistance to slavery and white supremacy, as a magnet for political mobilization, as an incubator of musical and oratorical talent that would transform the culture, and as a crucible for working through the Black community’s most critical personal and social issues. In a country that has historically afforded its citizens from the African diaspora tragically few safe spaces, the Black Church has always been more than a sanctuary. This fact was never lost on white supremacists: from the earliest days of slavery, when enslaved people were allowed to worship at all, their meetinghouses were subject to surveillance and destruction. Long after slavery’s formal eradication, church burnings and bombings by anti-Black racists continued, a hallmark of the violent effort to suppress the African American struggle for equality. The past often isn’t even past—Dylann Roof committed his slaughter in the Mother Emanuel AME Church 193 years after it was first burned down by white citizens of Charleston, South Carolina, following a thwarted slave rebellion. But as Gates brilliantly shows, the Black church has never been only one thing. Its story lies at the heart of the Black political struggle, and it has produced many of the Black community’s most notable leaders. At the same time, some churches and denominations have eschewed political engagement and exemplified practices of exclusion and intolerance that have caused polarization and pain. Those tensions remain today, as a rising generation demands freedom and dignity for all within and beyond their communities, regardless of race, sex, or gender. Still, as a source of faith and refuge, spiritual sustenance and struggle against society’s darkest forces, the Black Church has been central, as this enthralling history makes vividly clear.

Beyond her most famous creation—the nightmarish vision of Frankenstein’s Creature—Mary Shelley’s most enduring influence on politics, literature, and art perhaps stems from the legacy of her lesser-known novel about the near-extinction of the human species through war, disease, and corruption. This novel, The Last Man (1826), gives us the iconic image of a heroic survivor who narrates the history of an apocalyptic disaster in order to save humanity—if not as a species, then at least as the practice of compassion or humaneness. In visual and musical arts from 1826 to the present, this postapocalyptic figure has transmogrified from the “last man” into the globally familiar filmic images of the “invisible man” and the “final girl.” Reading Shelley’s work against the background of epidemic literature and political thought from ancient Greece to Covid-19, Eileen M. Hunt reveals how Shelley’s postapocalyptic imagination has shaped science fiction and dystopian writing from H. G. Wells, M. P. Shiel, and George Orwell to Octavia Butler, Margaret Atwood, and Emily St. John Mandel. Through archival research into Shelley’s personal journals and other writings, Hunt unearths Shelley’s ruminations on her own personal experiences of loss, including the death of young children in her family to disease and the drowning of her husband, Percy Bysshe Shelley. Shelley’s grief drove her to intensive study of Greek tragedy, through which she developed the thinking about plague, conflict, and collective responsibility that later emerges in her fiction. From her readings of classic works of plague literature to her own translation of Sophocles’s Oedipus Rex, and from her authorship of the first major modern pandemic novel to her continued influence on contemporary popular culture, Shelley gave rise to a tradition of postapocalyptic thought that asks a question that the Covid-19 pandemic has made newly urgent for many: What do humans do after disaster?

My name is Peter Grant and until January I was just probationary constable in that mighty army for justice known to all right-thinking people as the Metropolitan Police Service (and as the Filth to everybody else). My only concerns in life were how to avoid a transfer to the Case Progression Unit - we do paperwork so real coppers don't have to - and finding a way to climb into the panties of the outrageously perky WPC Leslie May. Then one night, in pursuance of a murder inquiry, I tried to take a witness statement from someone who was dead but disturbingly voluable, and that brought me to the attention of Inspector Nightingale, the last wizard in England. Now I'm a Detective Constable and a trainee wizard, the first apprentice in fifty years, and my world has become somewhat more complicated: nests of vampires in Purley, negotiating a truce between the warring god and goddess of the Thames, and digging up graves in Covent Garden ... and there's something festering at the heart of the city I love, a malicious vengeful spirit that takes ordinary Londoners and twists them into grotesque mannequins to act out its drama of violence and despair.The spirit of riot and rebellion has awakened in the city, and it's falling to me to bring order out of chaos - or die trying.

New English translation of this “demise of the human race” story.

An introduction to and advice on book collecting with a glossary of terms and tips on how to identify first editions and estimated values for over 20,000 collectible books published in English (including translations) over the last three centuries-about half are literary titles in the broadest sense (novels, poetry, plays, mysteries, science fiction, and children's books); and the other half are non-fiction (Americana, travel and exploration, finance, cookbooks, color plate, medicine, science, photography, Mormonism, sports, et al).

London: An Illustrated Literary Companion, compiled by Rosemary Gray, captures the varying moods of the great city over recent centuries, through diary entries, with quotations, poems, essays and extracts from great works written in its honour. It is beautifully illustrated with drawings and engravings from distinguished artists, including Gustave Doré, George Cruikshank, James McNeill Whistler and Hugh Thomson, and contains contemporary prints and photographs. Designed to appeal to the booklover, the Macmillan Collector's Library is a series of beautiful gift editions of much loved classic titles. Macmillan Collector's Library are books to love and treasure.