Minor Notes Vol. 1 features the work of three poets. Published in 1837, Poems by a Slave is one of the lesser-known works by George Moses Horton (1798-1883), once popularly known as the 'black bard of North Carolina.' Visions of the Dusk (1915) is an American prose poem known for its formal innovation by Fenton Johnson, a poet, essayist, editor and educator from Chicago. Georgia Douglas Johnson was the most widely read black woman poet in the US during the first three decades of the 20th century. Bronze: A Book of Verse (1922) was introduced with a foreword by W. E. B. Du Bois.

The Bern Book is a travelogue, a memoir, a "diary of an isolated soul" (Darryl Pinckney), and a meditation on the myth and reality of race in midcentury Europe and America. In 1953, having left the US and settled in Bern, Switzerland, Vincent O. Carter, a struggling writer, set about composing a "record of a voyage of the mind." The voyage begins with Carter's furiously good-humored description of how, every time he leaves the house, he must face the possibility of being asked "the hated question" (namely, Why did you, a black man born in America, come to Bern?). It continues with stories of travel, war, financial struggle, the pleasure of walking, the pain of self-loathing, and, through it all, various experiments in what Carter calls "lacerating subjective sociology." Now this long-neglected volume is back in print for the first time since 1973.

"William Edward Burghardt Du Bois, the author of this small, paradigm-shifting book, was a brilliant polymath, a pioneering historian and sociologist, a fierce advocate for racial justice, and a towering social philosopher, widely regarded as one of the greatest black geniuses of the modern era. In The Souls of Black Folk, he sought to synthesize the different modes of inquiry that he was trained in-philosophy, history, rhetoric, and sociology-in order to produce a sweeping mural of epic history and local color telling the story of black life in America." -JESSE MCCARTHY, from the Introduction

Ranging from Ta-Nehisi Coates's case for reparations to D'Angelo's simmering blend of R&B and racial justice, Jesse McCarthy's dazzling essays capture debates at the intersection of art, literature and politics in the twenty-first century with virtuosic intensity. In "Notes on Trap", McCarthy borrows a conceit from Susan Sontag to dissect the significance of trap music in American society, while in "The Master's Tools", Velazquez becomes a lens through which to view Kehinde Wiley's paintings. Essays on John Edgar Wideman, Terrance Hayes and Claudia Rankine survey the state of black letters. In "The Time of the Assassins", McCarthy, a black American raised in France, writes about returning to Paris after the Bataclan massacre and finding a nation in mourning but dangerously unchanged. Taken together, these essays portray a brilliant critic at work, making sense of our dislocated times while seeking to transform our understanding of race and art, identity and representation.

Ranging from Ta-Nehisi Coates's case for reparations to D'Angelo's simmering blend of R&B and racial justice, Jesse McCarthy's dazzling essays capture debates at the intersection of art, literature and politics in the twenty-first century with virtuosic intensity. In "Notes on Trap", McCarthy borrows a conceit from Susan Sontag to dissect the significance of trap music in American society, while in "The Master's Tools", Velazquez becomes a lens through which to view Kehinde Wiley's paintings. Essays on John Edgar Wideman, Terrance Hayes and Claudia Rankine survey the state of black letters. In "The Time of the Assassins", McCarthy, a black American raised in France, writes about returning to Paris after the Bataclan massacre and finding a nation in mourning but dangerously unchanged. Taken together, these essays portray a brilliant critic at work, making sense of our dislocated times while seeking to transform our understanding of race and art, identity and representation.