Ming Smith’s poetic and experimental images are icons of twentieth-century African American life. One of the greatest artist-photographers working today, Smith moved to New York in the 1970s and began to make images charged with startling beauty and spiritual energy. This long-awaited monograph brings together four decades of Smith’s work, celebrating her trademark lyricism, distinctively blurred silhouettes, dynamic street scenes, and deep devotion to theater, music, poetry, and dance—from the “Pittsburgh Cycle” plays of August Wilson to the Afrofuturism of Sun Ra. With never-before-seen images, and a range of illuminating essays and interviews, this tribute to Smith’s singular vision promises to be an enduring contribution to the history of American photography. Copublished by Aperture and Documentary Arts

On the banks of the Zambezi River, a few miles from the majestic Victoria Falls, there was once a colonial settlement called The Old Drift.

In 1904, in a smoky room at the hotel across the river, an Old Drifter named Percy M. Clark, foggy with fever, makes a mistake that entangles his fate with those of an Italian hotelier and an African busboy.

So begins a cycle of unwitting retribution between three Zambian families as they collide and converge over the course of the century, into the present and beyond.

Literature is rife with uncertainty. Literature is good for us. These two ideas about reading literature are often taken for granted. But what is the relationship between literature's capacity to unsettle, perplex, and bewilder us, and literature's ethical value? To revive this question, C. Namwali Serpell proposes a return to William Empson's groundbreaking work, Seven Types of Ambiguity (1930), which contends that literary uncertainty is crucial to ethics because it pushes us beyond the limits of our own experience. Taking as case studies experimental novels by Thomas Pynchon, Toni Morrison, Bret Easton Ellis, Ian McEwan, Elliot Perlman, Tom McCarthy, and Jonathan Safran Foer, Serpell suggests that literary uncertainty emerges from the reader's shifting responses to structures of conflicting information. A number of these novels employ a structure of mutual exclusion, which presents opposed explanations for the same events. Some use a structure of multiplicity, which presents different perspectives regarding events or characters. The structure of repetition in other texts destabilizes the continuity of events and frustrates our ability to follow the story. To explain how these structures produce uncertainty, Serpell borrows from cognitive psychology the concept of affordance, which describes an object's or environment's potential uses. Moving through these narrative structures affords various ongoing modes of uncertainty, which in turn afford ethical experiences both positive and negative. At the crossroads of recent critical turns to literary form, reading practices, and ethics, Seven Modes of Uncertainty offers a new phenomenology of how we read uncertainty now.

A powerful new novel about grief and mourning from the acclaimed and prize-winning author of The Old Drift A BARACK OBAMA BOOK OF THE YEAR and NEW YORK TIMES BOOK OF THE YEAR I don't want to tell you what happened. I want to tell you how it felt. Cassandra is twelve; her little brother Wayne is seven. One day, when they're alone together, there's an accident and Wayne is lost forever. Though his body is never recovered, their mother can't stop searching. As Cassandra grows older, she sees her brother everywhere: in cafes, aeroplane aisles, subway cars. But it can't be, of course. Or can it? And then one day, there's another accident, and she meets a man both mysterious and familiar, a man who shares her brother's name and who is also searching for someone... 'In Namwali Serpell's hands, grief is a kind of possession. The Furrows is a piercing, sharply written novel about the conjuring power of loss' - RAVEN LEILANI, author of Luster