Rachel is a world-famous pianist who has always been her mother's obedient doll. But after Rachel accepts a proposal from a famous composer, she meets Orlando, a handsome man who she believed to be a black angel at the cemetery on the day of her wedding. Orlando tells Rachel that what she needs is courage to make her own decisions. With Orlando's words in mind, Rachel leaves behind her wedding dress and runs away. She hides in Orlando's dark mansion and discovers who she really is. She eventually falls in love with Orlando, but then learns that he is suffering from a degenerative illness that will eventually blind him...

Simon is not your usual deviant killer. He chooses his prey carefully, patiently watching, waiting, until he knows her every move. Simon is a coworker, a friend. She likes him, trusts him. Then one day, she simply disappears, and a horrible new world awaits her. And that was before Simon became angry. Now, he challenges the FBI to a diabolical and deadly game. To John Hightower, the FBI's best, falls the task of stopping the mayhem. Simon enlists Frank Wycheck, a talented reporter, to chronicle the play. And for each of these players, the Game becomes more personal than they ever could have imagined.

Drawing on the collected archives of distinguished twentieth-century Black woman writers such as Lucille Clifton, Audre Lorde, Toni Cade Bambara, Lorraine Hansberry, and others, Marina Magloire traces a new history of Black feminist thought in relation to Afro-diasporic religion. Beginning in the 1930s with the pathbreaking ethnographic work of Katherine Dunham and Zora Neale Hurston in Haiti and ending with the present-day popularity of Afro-diasporic spiritual practices among Black women, she offers an alternative genealogy of Black feminism, characterized by its desire to reconnect with ancestrally centered religions like Vodou. Magloire reveals the tension, discomfort, and doubt at the heart of each woman's efforts to connect with ancestral spiritual practices. These revered writers are often regarded as unchanging monuments to Black womanhood, but Magloire argues that their feminism is rooted less in self-empowerment than in a fluid pursuit of community despite the inevitable conflicts wrought by racial capitalism. The subjects of this book all model a nuanced Black feminist praxis grounded in the difficult work of community building between Black women across barriers of class, culture, and time.

In Slavery Unseen, Lamonte Aidoo upends the narrative of Brazil as a racial democracy, showing how the myth of racial democracy elides the history of sexual violence, patriarchal terror, and exploitation of slaves. Drawing on sources ranging from inquisition trial documents to travel accounts and literature, Aidoo demonstrates how interracial and same-sex sexual violence operated as a key mechanism of the production and perpetuation of slavery as well as racial and gender inequality. The myth of racial democracy, Aidoo contends, does not stem from or reflect racial progress; rather, it is an antiblack apparatus that upholds and protects the heteronormative white patriarchy throughout Brazil's past and on into the present.