In this “strikingly imaginative” sequel to The Waterborn, an emperor’s daughter flees into the wasteland, pursued by an angry god (Kirkus Reviews). The daughter of the emperor, Hezhi has been blessed with untold strength: powers that could change the world. Fearful of this teenage upstart, the god known as the River demands that she be brought in line—or put to death, as all who challenge the River must be. He sends an assassin to follow her, but with the help of a barbarian named Perkar, Hezhi fights back—and nearly destroys the River altogether. She flees the city, striking out into the wilderness in hopes of finding a safe haven beyond the reach of the River’s agents. But no matter where she goes, Hezhi cannot find peace. When she meets the River’s brother, the trickster known as the Blackgod, he offers a way to destroy the River at the source. Caught between two warring deities, Hezhi must learn to master her power—or watch as the world is consumed by water.

J-Rod moves like a small tank on the court, his face mean, staring down his opponents. "I play just like my father," he says. "Before my father died, he was a problem on the court. I'm a problem." Playing basketball for him fuses past and present, conjuring his father's memory into a force that opponents can feel in each bone-snapping drive to the basket. On the street, every ballplayer has a story. Onaje X. O. Woodbine, a former streetball player who became an all-star Ivy Leaguer, brings the sights and sounds, hopes and dreams of street basketball to life. He shows that big games have a trickster figure and a master of black talk whose commentary interprets the game for audiences. The beats of hip-hop and reggae make up the soundtrack, and the ballplayers are half-men, half-heroes, defying the ghetto's limitations with their flights to the basket. Basketball is popular among young black American men but not because, as many claim, they are "pushed by poverty" or "pulled" by white institutions to play it. Black men choose to participate in basketball because of the transcendent experience of the game. Through interviews with and observations of urban basketball players, Onaje X. O. Woodbine composes a rare portrait of a passionate, committed, and resilient group of athletes who use the court to mine what urban life cannot corrupt. If people turn to religion to reimagine their place in the world, then black streetball players are indeed the hierophants of the asphalt.

Rising science fiction and fantasy star P. Djèlí Clark brings an alternate New Orleans of orisha, airships, and adventure to life in his immersive debut novella The Black God's Drums. Alex Award Winner! In an alternate New Orleans caught in the tangle of the American Civil War, the wall-scaling girl named Creeper yearns to escape the streets for the air--in particular, by earning a spot on-board the airship Midnight Robber. Creeper plans to earn Captain Ann-Marie’s trust with information she discovers about a Haitian scientist and a mysterious weapon he calls The Black God’s Drums. But Creeper also has a secret herself: Oya, the African orisha of the wind and storms, speaks inside her head, and may have her own ulterior motivations. Soon, Creeper, Oya, and the crew of the Midnight Robber are pulled into a perilous mission aimed to stop the Black God’s Drums from being unleashed and wiping out the entirety of New Orleans. “A sinewy mosaic of Haitian sky pirates, wily street urchins, and orisha magic. Beguiling and bombastic!”—New York Times bestselling author Scott Westerfeld At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Wending his way home after a bender one evening, master moocher and game programmer Keita Ibuki decides to satisfy a craving for ramen at a noodle stand. Instead of slurping soup, though, he surrenders his meal to a manic girl who, unbeknownst to Keita, is a Mototsumitama, a guardian of the coexistence equilibrium. When his new acquaintance is attacked, Keita gets caught in the crossfire and loses an arm. Awakening from the shock, Keita finds himself back in his apartment, arm intact! But just whose arm is it?!

A comparative study of the Afroasiatic traditional religions of northern Africa and Arabia. The author argues that there is a common Afroasiatic language in those regions, so is there a common family of religions. He compares traditions as diverse as those in Yemen and Nigeria.

Banning Black Gods is a global examination of the legal challenges faced by adherents of the most widely practiced African-derived religions in the twenty-first century, including Santeria/Lucumi, Haitian Vodou, Candomblé, Palo Mayombe, Umbanda, Islam, Rastafari, Obeah, and Voodoo. Examining court cases, laws, human rights reports, and related materials, Danielle N. Boaz argues that restrictions on African diaspora religious freedom constitute a unique and pervasive form of anti-Black discrimination. Emphasizing that these twenty-first-century cases and controversies are not a new phenomenon but rather a reemergence of colonial-era ideologies and patterns of racially motivated persecution, Boaz focuses each chapter on a particular challenge to Black religious freedom. She examines issues such as violence against devotees, restrictions on the ritual slaughter of animals, limitations on the custodial rights of parents, and judicial refusals to recognize these faiths as protected religions. Boaz introduces new issues that have never been considered as a question of religious freedom before—such as the right of Palo Mayombe devotees to possess remains of the dead—and she brings together controversies that have not been previously regarded as analogous, such as the right to wear headscarves and the right to wear dreadlocks in schools. Framing these issues in comparative perspective and focusing on transnational and transregional issues, Boaz advances our understanding of the larger human rights disputes that country-specific studies can overlook. Original and compelling, this important new book will be welcomed by students and scholars of African diaspora religions and discerning readers interested in learning more about the history of racial discrimination