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Ron Butler

Ron Butler

  • A high-flying YA anthology featuring thirteen short stories that turn superhero tropes on their head and offer fresh perspectives on modern myths

    Triumph. Tragedy. The empyreal. The infernal. Even the mundane, filtered through the fantastical. Superheroes are, appropriately enough, a sort of super-genre, encompassing all other story types.

    This YA anthology features thirteen short stories that creatively turn superhero tropes on their head, while still paying homage to the genre that has found fans for more than eight decades. And there will be no mistake—superheroes don’t have to just be generic handsome white dudes. Everyone in the world, no matter their race, sexual preference, pronouns, or level of ability, has dreamed of flying.

    Contributors include six New York Times bestselling authors, seven multiple award winners, a founder of We Need Diverse Books, and at least one author with millions of books in print in the US alone. The collection is edited by New York Times bestselling author Barry Lyga. The full list of contributors includes: Barry Lyga, Paul Levitz, Sarah MacLean, Lamar Giles, Elizabeth Eulberg, Danielle Paige, Varian Johnson, Joseph Bruchac, Morgan Baden, Matthew Phillion, Anna-Marie McLemore, Sterling Gates, and Axie Oh.

  • In February 1835, the cold New Orleans streets are alight with masked Mardi Gras revelers as the American Theater’s impresario, Lorenzo Belaggio, brings a magnificent yet controversial operatic version of Othello to town. But it’s pitch-black in the alley where free man of color Benjamin January hears a slurred whisper, spies the flash of a knife, and is himself wounded as he rescues Belaggio from a vicious attack. Could competition for audiences—or for Belagio’s affections—provoke such violent skulduggery? Or is Shakespeare’s tragic tale, with its spectacle of a black man’s passion for a white beauty, one that some Creole citizen—or American parvenu—would do anything to keep off the stage? The soaring music will lead January into a tangle of love, hate, and greed more treacherous than any onstage drama, as he must discover who is responsible … and who will Die Upon a Kiss.

  • Benjamin January made his debut in bestselling author Barbara Hambly’s A Free Man of Color, a haunting mélange of history and mystery. Now he returns in another novel of greed, madness, and murder amid the dark shadows and dazzling society of old New Orleans, named a Notable Book of the Year by the New York Times.

    The summer of 1833 has been one of brazen heat and brutal pestilence, as the city is stalked by Bronze John—the popular name for the deadly yellow fever epidemic that tests the healing skills of doctor and voodoo alike. Even as Benjamin January tends the dying at Charity Hospital during the steaming nights, he continues his work as a music teacher during the day.

    When he is asked to pass a message from a runaway slave to the servant of one of his students, January finds himself swept into a tempest of lies, greed, and murder that rivals the storms battering New Orleans. And to find the truth he must risk his freedom—and his very life.

  • This lush and haunting novel tells of a city steeped in decadent pleasures and of a man, proud and defiant, caught in a web of murder and betrayal.

    It is 1833. In the midst of Mardi Gras, Benjamin January, a Creole physician and music teacher, is playing piano at the Salle d’Orléans when the evening’s festivities are interrupted—by murder.

    The ravishing Angelique Crozat, a notorious octoroon who travels in the city’s finest company, has been strangled to death. With the authorities reluctant to become involved, Ben begins his own inquiry, which will take him through the seamy haunts of riverboatmen and into the huts of voodoo worshipping slaves.

    But soon the eyes of suspicion turn toward Ben—for, black as the slave who fathered him, this free man of color is still seen as the perfect scapegoat.

  • An alien ship rests over Water Island. For five years the people of the US Virgin Islands have lived with the Ynaa, a race of superadvanced aliens on a research mission they will not fully disclose. They are benevolent in many ways but meet any act of aggression with disproportional wrath. This has led to a strained relationship between the Ynaa and the local Virgin Islanders and a peace that cannot last.

    A year after the death of a young boy at the hands of an Ynaa, three families find themselves at the center of the inevitable conflict, witnesses and victims to events that will touch everyone and teach a terrible lesson.

  • On New Year’s Eve, 1939, a horrific triple murder occurred in rural Oklahoma. Within a matter of days, investigators identified several suspects: convicts who had been at a craps game with one of the victims the night before. Also at the craps game was a young black farmer named W. D. Lyons. As anger at authorities grew, political pressure mounted to find a villain. The governor’s representative settled on Lyons, who was arrested, tortured into signing a confession, and tried for the murder.

    The NAACP’s new Legal Defense and Education Fund sent its young chief counsel, Thurgood Marshall, to take part in the trial. The NAACP desperately needed money, and Marshall was convinced that the Lyons case could be a fundraising boon for both the state and national organizations. It was. The case went on to the US Supreme Court, and the NAACP raised much-needed money from the publicity.

    Conviction is the story of Lyons v. Oklahoma, the oft-forgotten case that set Marshall and the NAACP on the path that led ultimately to victory in Brown v. Board of Education and the accompanying social revolution in the United States.

  • V. S. Naipaul’s legendary command of broad comedy and acute social observation is on abundant display in these classic works of fiction—two novels and a collection of stories—that capture the rhythms of life in the Caribbean and England with impressive subtlety and humor.

    The Suffrage of Elvira is Naipaul’s hilarious take on an electoral campaign in the back country of Trinidad, where the candidates’ tactics include blatant vote-buying and supernatural sabotage. The eponymous protagonist of Mr. Stone and the Knights Companion is an aging Englishman of ponderously regular habits whose life is thrown into upheaval by a sudden marriage and unanticipated professional advancement. And the stories in A Flag on the Island take us from a Chinese bakery in Trinidad—whose black proprietor faces bankruptcy until he takes a Chinese name—to a rooming house in London—where the genteel landlady plays a nasty Darwinian game with her budgerigars.

    Unfailingly stylish, filled with intelligence and feeling, here is the work of a writer who can do just about anything that can be done with language.

  • The first of Naipaul’s twelve novels tells of one man’s meteoric rise and hilarious metamorphosis from failed schoolteacher and struggling masseur to the most popular man in Trinidad.

    In this slyly funny and lavishly inventive novel, Nobel Prize winner V. S. Naipaul traces the unlikely career of Ganesh Ramsumair, a failed schoolteacher and impecunious village masseur who in time becomes a revered mystic, a thriving entrepreneur, and the most beloved politician in Trinidad. To understand a little better, one has to realize that in the 1940s masseurs were the island’s medical practitioners of choice. As one character observes, “I know the sort of doctors they have in Trinidad. They think nothing of killing two, three people before breakfast.”

    Ganesh’s ascent is variously aided and impeded by a Dickensian cast of rogues and eccentrics. There’s his skeptical wife, Leela, whose schooling has made her excessively, fond. of; punctuation: marks!; and Leela’s father, Ramlogan, a man of startling mood changes and an ever-ready cutlass. There’s the aunt known as The Great Belcher. There are patients pursued by malign clouds or afflicted with an amorous fascination with bicycles. Witty, tender, filled with the sights, sounds, and smells of Trinidad’s dusty Indian villages, The Mystic Masseur is Naipaul at his most expansive and evocative.

  • On an unnamed Caribbean Island, political tensions provoked by race and poverty are high. Jimmy Ahmed, a young mixed-race man, has been hailed as a revolutionary leader of the people. Roche, imprisoned for activities against South Africa’s apartheid regime, and Jane, a feckless English rich girl wanting to feel a part of something bigger, get sucked into the turmoil and world of Ahmed. But does anyone achieve anything by causing unrest? Do any of them really want freedom in a new society or just the old society with themselves at the helm of power?

    Written in the politically turbulent 1970s, Guerrillas takes aim at the sacred cows and myths of revolutionaries—how so many of them “huff and puff,” knowing that the house will never blow down. From the safest places come the bravest words.

    Naipaul’s bleak tale also takes aim at flaws in Marxist and revolutionary ideology—at the idea that one can predict or manipulate how the “revolution” will turn out. His characters are lost souls trying to navigate a postcolonial world where racism, classism, and conflicting ideals create a festering unrest that no one knows how to fix.

  • “A stranger could drive through Miguel Street and just say ‘Slum!’ because he could see no more.” But to its residents this derelict corner of Trinidad’s capital is a complete world, where everybody is quite different from everybody else. There’s Popo the carpenter, who neglects his livelihood to build “the thing without a name.” There’s Man-man, who goes from running for public office to staging his own crucifixion, and the dreaded Big Foot, the bully with glass tear ducts. There’s the lovely Mrs. Hereira, in thrall to her monstrous husband. In this tender, funny early novel, V. S. Naipaul renders their lives (and the legends their neighbors construct around them) with Dickensian verve and Chekhovian compassion.

    Set during World War II and narrated by an unnamed—but precociously observant—neighborhood boy, Miguel Street is a work of mercurial mood shifts, by turns sweetly melancholy and anarchically funny. It overflows with life on every page.

  • This is a soulful and timely novel exploring family histories and community divides, in the vein of Nicole Dennis-Benn’s Here Comes the Sun and Monique Roffey’s The White Woman on the Green Bicycle.

    At a Caribbean resort built atop a former slave plantation, Myrna works as a maid by day; by night she trespasses on the resort’s overgrown inland property, secretly excavating the plantation ruins that her island community refuses to acknowledge. Rapt by the crumbling walls of the once slave owner’s estate, she explores the unspoken history of the plantation—a site where her ancestors once worked the land, but which the resort now uses as a lookout point for tourists.

    When Myrna discovers a book detailing the experiences of slaves, who still share a last name with the majority of the islanders, her investigation becomes deeply personal, extending to her neighbors and friends, and explaining her mother’s self-imposed silence and brother’s disappearance. A new generation begins to speak about the past just as racial tensions erupt between the resort and the local island community when an African American tourist at the resort is brutally attacked.

    Suffused with the sun-drenched beauty of the Caribbean, Fingerprints of Previous Owners is a powerful novel of hope and recovery in the wake of devastating trauma. In her soulful and timely debut, Entel explores what it means to colonize and be colonized, to trespass and be trespassed upon, to be wounded and to heal.

  • During the nineteenth century, the United States entered the ranks of the world’s most advanced and dynamic economies. At the same time, the nation sustained an expansive and brutal system of human bondage.

    This was no mere coincidence. Slavery’s Capitalism argues for slavery’s centrality to the emergence of American capitalism in the decades between the Revolution and the Civil War. According to editors Sven Beckert and Seth Rockman, the issue is not whether slavery itself was or was not capitalist but, rather, the impossibility of understanding the nation’s spectacular pattern of economic development without situating slavery front and center.

    American capitalism—renowned for its celebration of market competition, private property, and the self-made man—has its origins in an American slavery predicated on the abhorrent notion that human beings could be legally owned and compelled to work under force of violence.

    Drawing on the expertise of sixteen scholars who are at the forefront of rewriting the history of American economic development, Slavery’s Capitalism identifies slavery as the primary force driving key innovations in entrepreneurship, finance, accounting, management, and political economy that are too often attributed to the so-called free market.

    Approaching the study of slavery as the originating catalyst for the Industrial Revolution and modern capitalism casts new light on American credit markets, practices of offshore investment, and understandings of human capital. Rather than seeing slavery as outside the institutional structures of capitalism, the essayists recover slavery’s importance to the American economic past and prompt enduring questions about the relationship of market freedom to human freedom.

    Contributors: Edward E. Baptist, Sven Beckert, Daina Ramey Berry, Kathryn Boodry, Alfred L. Brophy, Stephen Chambers, Eric Kimball, John Majewski, Bonnie Martin, Seth Rockman, Daniel B. Rood, Caitlin Rosenthal, Joshua D. Rothman, Calvin Schermerhorn, Andrew Shankman, Craig Steven Wilder.

  • James Beard award–winning author Adrian Miller vividly tells the stories of the African Americans who worked in the presidential food service as chefs, personal cooks, butlers, stewards, and servers for every First Family since George and Martha Washington.

    Miller brings together the names and words of more than 150 black men and women who played remarkable roles in unforgettable events in the nation’s history. Daisy McAfee Bonner, for example, FDR’s cook at his Warm Springs retreat, described the president’s final day on earth in 1945, when he was struck down just as his lunchtime cheese soufflé emerged from the oven. Sorrowfully, but with a cook’s pride, she recalled, “He never ate that soufflé, but it never fell until the minute he died.”

    A treasury of information about cooking techniques and equipment, the book includes twenty recipes for which black chefs were celebrated. From Samuel Fraunces’s “onions done in the Brazilian way” for George Washington to Zephyr Wright’s popovers, beloved by LBJ’s family, Miller highlights African Americans’ contributions to our shared American foodways.

    Surveying the labor of enslaved people during the antebellum period and the gradual opening of employment after Emancipation, Miller highlights how food-related work slowly became professionalized and the important part African Americans played in that process. His chronicle of the daily table in the White House proclaims a fascinating new American story.

  • During the Civil War, Americans confronted profound moral problems about how to fight in the conflict. In this innovative book, D. H. Dilbeck reveals how the Union sought to wage a just war against the Confederacy. He shows that Northerners fought according to a distinct “moral vision of war,” an array of ideas about the nature of a truly just and humane military effort. Dilbeck tells how Union commanders crafted rules of conduct to ensure their soldiers defeated the Confederacy as swiftly as possible while also limiting the total destruction unleashed by the fighting. Dilbeck explores how Union soldiers abided by official just-war policies as they battled guerrillas, occupied cities, retaliated against enemy soldiers, and came into contact with Confederate civilians.

    In contrast to recent scholarship focused solely on the Civil War’s carnage, Dilbeck details how the Union sought both to deal sternly with Confederates and to adhere to certain constraints. The Union’s earnest effort to wage a just war ultimately helped give the Civil War its distinct character, a blend of immense destruction and remarkable restraint.

  • In February 1971 racial tension surrounding school desegregation in Wilmington, North Carolina, culminated in four days of violence and skirmishes between white vigilantes and black residents. The turmoil resulted in two deaths, six injuries, more than $500,000 in damage, and the firebombing of a white-owned store, before the National Guard restored uneasy peace. Despite glaring irregularities in the subsequent trial, ten young persons were convicted of arson and conspiracy and then sentenced to a total of 282 years in prison. They became known internationally as the Wilmington Ten. A powerful movement arose within North Carolina and beyond to demand their freedom, and after several witnesses admitted to perjury, a federal appeals court, also citing prosecutorial misconduct, overturned the convictions in 1980.

    Kenneth Janken narrates the dramatic story of the Ten, connecting their story to a larger arc of Black Power and the transformation of post–civil rights–era political organizing. Grounded in extensive interviews, newly declassified government documents, and archival research, this book thoroughly examines the events of 1971 and the subsequent movement for justice that strongly influenced the wider African American freedom struggle.

  • Soon to be an eight-part television series starring Lennie James

    Barrington Jedidiah Walker is seventy-four and leads a double life. Born and bred in Antigua, he has lived in Hackney, London, for years. A flamboyant character with a fondness for William Shakespeare, Barrington is a husband, father, grandfather—and also secretly gay.

    His deeply religious and disappointed wife, Carmel, thinks he sleeps with other women. When their marriage goes into meltdown, Barrington wants to divorce Carmel and live with Morris, but after a lifetime of fear and deception, will he manage to break away?

    With an abundance of laugh-out-loud humor and wit, Mr. Loverman explodes cultural myths and shows the extent of what can happen when people fear the consequences of being true to themselves.