In her 1982 genre-fluid memoir, Zami: A New Spelling of My Name, Audre Lorde reflects on how her identity was formed by her relationships with women throughout her life, from her early memories of her mother attempting to shield her from the racism and sexism ingrained in American society to the solidarity she found in lesbian communities in downtown New York in the 1950s and among women whom she worked beside. With candor and trenchant yet simple detail, Lorde paints an intimate portrait of her life, granting readers a window into the formative experiences of one of the greatest writers and feminist thinkers of the 20th century. Zami: A New Spelling of My Name will be the second Lorde title to be featured in the Penguin Vitae collection and will feature a new foreword.

A New York Times Bestseller

A dynamic and strikingly relevant look at a feminist canon as expansive rather than definitive

For Roxane Gay, a feminist canon is subjective and always evolving. A feminist canon represents a long history of feminist scholarship, embraces skepticism, and invites robust discussion and debate. Selected writings by ancient, historic, and more recent feminist voices include Henricus Cornelius Agrippa, Anna Julia Cooper, Kimberlé Crenshaw, Dorothy Allison, Leslie Feinberg, Eileen Myles, Mona Eltahawy, bell hooks, Sara Ahmed, Cherríe Moraga, Audre Lorde, The Guerrilla Girls, and many more. With an introduction, headnotes, and an inspired list of multimedia recommendations, Roxane Gay presents multicultural perspectives, ecofeminism, feminism and disability, feminist labor, gender perspectives, and Black feminism. Through the Portable Feminist Reader, readers explore the state of American feminism, its successes and failures, and what feminism looks like in practice, as a complex, contradictory, personal and political, and ever-growing legacy of feminist thought.

The first volume in an anthology series that amplifies the voices of unsung Black poets to paint a more robust picture of our national past, and of the Black literary imagination, with a foreword by Tracy K. Smith

Joshua Bennett and Jesse McCarthy repeatedly found themselves struck by the number of exciting poets they came across in long-out-of-print collections and forgotten journals whose work has been neglected or entirely ignored, even by scholars of Black poetry.

A pioneering work of Afrofuturism and antiracist fiction by the author of Black No More, about a Black scientist who masterminds a worldwide conspiracy to take back the African continent from imperial powers

“An amazing serial story of Black genius against the world” is how Black Empire was promoted upon its original publication as a serial in The Pittsburgh Courier from 1936 to 1938. It tells the electrifying tale of Dr. Henry Belsidus, a Black scientific genius desperate to free his people from the crushing tyranny of racism. To do so, he concocts a plot to enlist a crew of Black intellectuals to help him take over the world, cultivating a global network to reclaim Africa from imperial powers and punish Europe and America for white supremacy and their crimes against the planet’s Black population.

The most influential work by “the father of Black history”, reflecting the long-standing tradition of antiracist teaching pioneered by Black educators

AThe Mis-education of the Negro (1933) is Woodson’s most popular classic work of Black social criticism, drawing on history, theory, and memoir. As both student and teacher, Woodson witnessed distortions of Black life in the history and literature taught in schools and universities. He identified a relationship between these distortions in curriculum and the violence circumscribing Black life in the material world, declaring, “There would be no lynching if it did not start in the schoolroom.” Woodson’s primary focus was the impact dominant modes of schooling had on Black youth.

A quietly influential force in African American literature and art, Clarence Major makes his Penguin Classics debut with the twenty-fifth-anniversary edition of Dirty Bird Blues 
 
Set in post-World War II Chicago and Omaha, the novel features Manfred Banks, a young, harmonica-blowing blues singer who is always writing music in his head. Torn between his friendships with fellow musicians and nightclub life and his responsibilities to his wife and child, along with the pressures of dealing with a racist America that assaults him at every turn, Manfred seeks easy answers in "Dirty Bird" (Old Crow whiskey) and in moving on. He moves to Omaha with hopes of better opportunities as a blue-collar worker, but the blues in his soul and the dreams in his mind keep bringing him back to face himself. After a nightmarish descent into his own depths, Manfred emerges with fresh awareness and possibility.