In this “outstanding volume” (Boston Herald) that “ought to be at the top of everyone’s must-read list” (Essence), Black women and men evocatively explore what could make a smart woman ignore doctor’s orders; what could get a hardworking employee fired from her job; what could get a black woman in hot water with her white boyfriend? In a word: hair. In a society where beauty standards can be difficult if not downright unobtainable for many Black women, the issue of hair is a major one. Now, in this evocative and fascinating collection of essays, poems, excerpts, and more, Tenderheaded speaks to the personal, political, and cultural meaning of Black hair. From A’​Leila Perry Bundles, the great-granddaughter of hair care pioneer Madam C.J. Walker celebrating her ancestor’s legacy, to an art historian exploring the moving ways in which Black hair has been used to express Yoruba spirituality, to renowned activist Angela Davis questioning how her message of revolution got reduced to a hairstyle, Tenderheaded is as rich and diverse as the children of the African diaspora. With works from authors including Toni Morrison, Alice Walker, bell hooks, Henry Louis Gates Jr., and more, this “remarkable array of writings and images” (Publishers Weekly) will stay with you long after you turn the final page.

In Janae Johnson's debut poetry collection, the concept of being tenderheaded is less about Black hair; more how we are taught to disguise pain through suppression of macro and micro traumas. What began as a book of poetry about women's basketball transformed into a coming-of-age story centering Black queer masculinity, emotional restoration and belonging. From lyrically experimental to personified prose, each poem encourages humor to rise after an eight hour hair appointment and the ultimate decision to wear a ponytail.

"This book is one all poetry lovers should get their hands on. It sets you free to hear a writer speak with such clarity that the words seem to jump off the page." -Tina Kohl Author of My Poetic Voices Poetry released in such an emotional and powerful way is a direct link to reach the market. African-Americans have always been at the forefront of the spoken word explosion. But Tender Headed makes it known that poetry is a real force to be dealt with. With words that seem to explode off the page about everything from sex to marriage to racial prejudice, this book seems to conquer it all. Tender Headed is the kind of poetry one reads when there is a need to be uplifted, entertained and educated.

Tender Headed, selected by Camille Rankine as a winner of the 2022 National Poetry Series, is a musical and formally playful meditation on Black identity and masculinity "In this dynamic debut collection, Nigerian American poet Osinaike unpacks ideas of masculinity with playful musicality . . . Acutely attuned to poetic lineage, Osinaike cites established poets Yona Harvey, Ladan Osman, and Morgan Parker, setting a context for his own new and versatile voice." —Booklist The irony of transformation often is that we mistake it to have occurred long before it does. Tender Headed takes its time in asserting the realization that growth remains ever ahead of you. Examining the themes of Black identity, accountability, and narration, we encounter a series of revealing snapshots into the role language plays in chiseling possibility and its rigid command of depiction. Olatunde Osinaike's startling debut sorts through the many-minded masks behind Black masculinity. At its center lies an inquiry about the puzzling nature of relationships, how ceaseless wonder can be in its challenge of a truth. In the name of music and self-identity, the speaker weaves their way through fault and how it amends Black life in America. This is demonstrated best in how the demanding, yet vulnerable tone for the collection is set in "Men Like Me," its restless opening poem. Here, we find the speaker reciting a chronicle of generational neglect from men that became him also. Earnest and sharp, there is a beauty in seeing a poet not shy away from both the melancholy and resolve of rescripting their path while cherishing their steps and missteps along the way. This collection is a panel aching of fathers, sons, uncles, grandfathers, all of whom would do well to join in and confront shared privileges that are typically curtailed or altogether avoided in conversation. Tender Headed entrusts the heart to be a compass, insisting on a journey unto itself and a melodic detour toward tenderness precise with its own footing.

INTERRUPTEDOn the sunniest of daysWhen my heart leapsFrom the mere touch of your handAnd I've experienced more happinessThan one man could standI catch a glimpse of herThen reminisceBack to the first timeWe never metI begin to remember her chocolate skinThe depth of her heartThe sweetness of her breathThe silkiness of her thighsThe tranquility of her bosomThe solace of her embraceI savor the satisfaction of her pleasureAnd begin to salivateWishing for a year before youAs my eyes cleverly deceive me once againAnd the memories of her causes unbearable painI wish for a dark roomA heavy blanket to cover my headAnd pray to God for rain

This triumphant picture book recasts a charged phrase as part of a black girl's everyday life--hands up for a hug, hands up in class, hands up for a high five--before culminating in a moment of resistance at a protest march. A young black girl lifts her baby hands up to greet the sun, reaches her hands up for a book on a high shelf, and raises her hands up in praise at a church service. She stretches her hands up high like a plane's wings and whizzes down a hill so fast on her bike with her hands way up. As she grows, she lives through everyday moments of joy, love, and sadness. And when she gets a little older, she joins together with her family and her community in a protest march, where they lift their hands up together in resistance and strength.

In her first novel since the Pulitzer Prize–nominated The Quick and the Dead, the legendary writer takes us into an uncertain landscape after an environmental apocalypse, a world in which only the man-made has value, but some still wish to salvage the authentic. "She practices ... camouflage, except that instead of adapting to its environment, Williams’s imagination, by remaining true to itself, reveals new colorations in the ecology around her.” —A.O. Scott, The New York Times Book Review Khristen is a teenager who, her mother believes, was marked by greatness as a baby when she died for a moment and then came back to life. After Khristen’s failing boarding school for gifted teens closes its doors, and she finds that her mother has disappeared, she ranges across the dead landscape and washes up at a “resort” on the shores of a mysterious, putrid lake the elderly residents there call “Big Girl.” In a rotting honeycomb of rooms, these old ones plot actions to punish corporations and people they consider culpable in the destruction of the final scraps of nature’s beauty. What will Khristen and Jeffrey, the precocious ten-year-old boy she meets there, learn from this “gabby seditious lot, in the worst of health but with kamikaze hearts, an army of the aged and ill, determined to refresh, through crackpot violence, a plundered earth”? Rivetingly strange and beautiful, and delivered with Williams’s searing, deadpan wit, Harrow is their intertwined tale of paradise lost and of their reasons—against all reasonableness—to try and recover something of it.

"A gentle little book about the love and pain of women and hair"--Artist's Web site, viewed July 22, 2013.

AN AUSPICIOUS DEBUT EXAMINING THE CULTURE OF HAIR FROM THE RONA JAFFE FOUNDATION AWARD-WINNING CARTOONIST Hot Comb offers a poignant glimpse into Black women’s lives and coming of age stories as seen across a crowded, ammonia-scented hair salon while ladies gossip and bond over the burn. The titular story “Hot Comb” is about a young girl’s first perm—a doomed ploy to look cool and to stop seeming “too white” in the all-black neighborhood her family has just moved to. In “Virgin Hair” taunts of “tender-headed” sting as much as the perm itself. It’s a scenario that repeats fifteen years later as an adult when, tired of the maintenance, Flowers shaves her head only to be hurled new put-downs. The story “My Lil Sister Lena” traces the stress resulting from being the only black player on a white softball team. Her hair is the team curio, an object to touched, a subject to be discussed and debated at the will of her teammates, leading Lena to develop an anxiety disorder of pulling her own hair out. Among the series of cultural touchpoints that make you both laugh and cry, Flowers recreates classic magazine ads idealizing women’s needs for hair relaxers and product. “Change your hair form to fit your life form” and “Kinks and Koils Forever” call customers from the page. Realizations about race, class, and the imperfections of identity swirl through Flowers’ stories and ads, which are by turns sweet, insightful, and heartbreaking. Flowers began drawing comics while earning her PhD, and her early mastery of sequential storytelling is nothing short of sublime. Hot Comb is a propitious display of talent from a new cartoonist who has already made her mark.

In Rice, her second volume of poetry, Nikky Finney explores the complexity of rice as central to the culture, economy, and mystique of the coastal South Carolina region where she was born and raised. The prized Carolina Gold rice paradoxically made South Carolina one of the most oppressive states for slaves and also created the remarkable Gullah culture on the coastal islands. The poems in Rice compose a profound and unflinching journey connecting family and the paradoxes of American history, from the tragic times when African slaves disembarked on the South Carolina coast to the triumphant day when Judge Ernest A. Finney Jr., Nikky’s father, was sworn in as South Carolina’s first African American chief justice. Images from the Finney family archive illustrate and punctuate this collection. Rice showcases Finney’s hungry intellect, her regional awareness and pride, and her sensitivity to how cultures are built and threatened.