In Praise: A Conversation with Texas Poet Laureate & Founder of Torch Literary Arts, Amanda Johnston

Phillip B. Williams, "Lift Every Voice" (Penguin, 2026)

Captivating for both its grandeur and intimacy, Lift Every Voice [https://bookshop.org/a/12343/9780143138860] (Penguin Books, 2026) explores the past’s capacity to be both a source of dread and empowerment, an unshakable reminder of violence and an indelible testament to the endurance of love. In virtuosic poems that are wise, musical, richly layered, and saturated with vivid imagery, Williams honors a mother “who knew seven ways to say bitch under her breath,” a grandma whose smile “reflects the world,” and wonders at “the impossible lift” of forgiveness. Lift Every Voice is a staggering tribute to personal and collective evolutions, a vital chorus that answers only to God, community, and the empowered self. Phillip B. Williams [https://www.phillipbwilliams.com/] is from Chicago, Illinois, and is the author of two collections of poetry: Thief in the Interior, which was the winner of the Kate Tufts Discovery Award and a Lambda Literary Award, and Mutiny, which was a finalist for the PEN/Voelcker Award for Poetry Collection and the winner of a 2022 American Book Award. Williams is also the recipient of a Whiting Award and fellowships from the Radcliffe Institute for Advanced Study at Harvard University and the National Endowment for the Arts. His 2025 novel, Ours, was named a Best Book of the Year by The New Yorker, People, Los Angeles Times, NPR, and more. You can find Phillip on Instagram [https://www.instagram.com/phillipbw_author/]. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer [https://newbooksnetwork.com/category/up-partners/additions-to-the-archive-with-sullivan-summer] on Instagram [https://www.instagram.com/additionstothearchive/], Substack [https://sullivansummer.substack.com/?utm_campaign=profile_chips], and wherever you get your podcasts.

Gullah-Geechee Diasporas: Knowledge, Culture, and Black Lowcountry Legacies

Gullah-Geechee Diasporas: Knowledge, Culture, and Black Lowcountry Legacies  [https://bookshop.org/a/12343/9781643366395](University of South Carolina Press, 2026) counters romantic portrayals of Gullah-Geechee culture as a static, geographically isolated remnant of the past. Across eight interdisciplinary essays, the book’s contributors trace an arc, described in time and space, from pre-Middle Passage Africa through the Caribbean and coastal United States into the interior South and beyond. They consider how Gullah-Geechee cultural traditions are simultaneously rooted in the physical Lowcountry homeland and represent a dynamic cultural ethos that is not bounded by geography and has shaped Black life across North America and the Caribbean Basin. Together, these essays reveal the resilience and adaptability of people whose history defies myths of isolation and immobility. Gullah-Geechee Diasporas is a fresh framework for understanding African American cultural origins, migrations, and transformations. Dr. Muhammad Fraser-Rahim is associate professor of Intelligence and Security Studies at The Citadel. He is the author of America’s Other Muslims and Gullah Geechee Muslims in America. You can find him on Instagram [https://www.instagram.com/dervishvibez/] and LinkedIn [https://www.linkedin.com/in/muhammad-fraser-rahim-ph-d-2598394]. Dr. Elizabeth J. West is professor of English and the John B. and Elena Diaz-Verson Amos Distinguished Chair in English Letters at Georgia State University. Her books include Finding Francis and African Spirituality in Black Women’s Fiction. She can be found online at Instagram [https://www.instagram.com/elizjwest/] and LinkedIn [https://www.linkedin.com/in/elizabeth-west-6388081b2]. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer [https://newbooksnetwork.com/category/up-partners/additions-to-the-archive-with-sullivan-summer] on Instagram [https://www.instagram.com/additionstothearchive/], Substack [https://sullivansummer.substack.com/?utm_campaign=profile_chips], and wherever you get your podcasts.

In Praise: A Conversation with Texas Poet Laureate & Founder of Torch Literary Arts, Amanda Johnston

In 2006 poet Amanda Johnston went in search of community and, when she didn’t find what she was looking for, Amanda built her own. Today, Torch Literary Arts is a resource and a destination for Black women writers and readers across the diaspora. Fueled by wisdom and writings from poets, novelists, and screenwriters, the organization’s exceptional programming and award-winning magazine amplify Black women’s voices, and has featured work from poets like Patricia Smith, Yona Harvey, and Toi Derricotte, screenwriters and playwrights like Jonterri Gadson, Charla Lauriston, and Lisa B. Thompson, and novelists like Tayari Jones, Crystal Wilkinson, and Sapphire. And at a time when Amanda is preparing for Torch’s 20th Anniversary celebration, “A Gathering of Flames,” she is also celebrating the publication of a new book in her capacity as the 61st Texas Poet Laureate, Praisesong for the People: Poems from the Heart and Soul of Texas  [https://hostpublications.com/products/praisesong-for-the-people-poems-from-the-heart-and-soul-of-texas](Host Publications, 2025), showcasing original praise poems commissioned from poets across the state, and seeking to uplift diverse and intersecting populations across age, gender, and BIPOC, LGBTQIA+, differently-abled, and immigrant communities. You can find Amanda at her website [https://www.amandajohnston.com/], on Instagram [https://www.instagram.com/poetamandajohnston/?hl=en], and on Threads [https://www.threads.com/@poetamandajohnston?xmt=AQG0fPBCmE_FBSDL3o7DoNektNYW3vGlZfJ3qX1xK60tTdg]. And check out Torch Literary Arts [https://www.torchliteraryarts.org/], Torch Magazine [https://www.torchliteraryarts.org/torchmagazine], and follow the organization on Instagram [https://www.instagram.com/torchliteraryarts/?hl=en], Facebook [https://www.facebook.com/torchliteraryarts/], and Threads [https://www.threads.com/@torchliteraryarts?xmt=AQG0fPBCmE_FBSDL3o7DoNektNYW3vGlZfJ3qX1xK60tTdg]. Want to hear more from Amanda about the journey to Torch’s 20th Anniversary? Check out our continued conversation on Substack [https://sullivansummer.substack.com/?utm_campaign=profile_chips]. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer [https://newbooksnetwork.com/category/up-partners/additions-to-the-archive-with-sullivan-summer] on Instagram [https://www.instagram.com/additionstothearchive/], Substack [https://sullivansummer.substack.com/?utm_campaign=profile_chips], and wherever you get your podcasts.

Where Harlem Rests at the Woodlawn Cemetery

A cemetery as open-air museum? Historian and award-winning author of Boss of the Grips: The Life of James H. Williams and the Red Caps of Grand Central Terminal, Eric K. Washington thinks so. In this compelling discussion, Washington talks about his newly-completed project revealing the hidden stories of Harlem Renaissance figures buried at the historic Woodlawn Cemetery [https://www.woodlawn.org/] in the Bronx, New York. Funded by a $50,000 grant from the National Trust for Historic Preservation, the initiative was led by Washington, alongside A’Lelia Bundles, journalist, historian, and great-granddaughter of entrepreneur and icon Madam C.J. Walker. While the Harlem Renaissance is often told through a handful of well-known names, Where Harlem Rests (available here [https://www.woodlawn.org/wp-content/uploads/2026/06/Where-Harlem-Rests-PDF-Version-of-Booklet.pdf]) allows for a look beyond the spotlight, uncovering the many voices that helped shape the movement, and the community itself, expanding the historical narrative, and honoring a broader, more inclusive legacy of creativity, resilience, and cultural impact that has long deserved recognition. The Woodlawn Conservancy is the 501c3 not-for-profit support organization for the Woodlawn Cemetery. Woodlawn Cemetery was established in 1863 and spans 400 acres in the Bronx, New York. It is one of the nation’s most distinguished historic cemeteries and a certified Level II Arboretum. In 2011, Woodlawn was designated a National Historic Landmark for its singular importance in the history of the nation and New York City. It is also an active cemetery with ongoing burials and funeral services, and more than 310,000 individuals are memorialized on its grounds. Woodlawn is one of the nation's finest examples of a 19th-century garden cemetery. Its monuments represent some of the best memorial art and architecture in the nation, including nearly 1,300 private mausoleums designed by some of the most prominent architects of the 20th century. The Woodlawn Cemetery is open to the public free of charge 365 days a year from 8:30am - 4:30 pm. You can find Erik at his website [https://www.ekwashington.com/], and on at personal Instagram page [https://www.instagram.com/erickwashington/], as well as @taggingthepast [https://www.instagram.com/taggingthepast/]. His recommended reading list is available on the Additions to the Archive Substack [https://sullivansummer.substack.com/?utm_campaign=profile_chips]. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer [https://newbooksnetwork.com/category/up-partners/additions-to-the-archive-with-sullivan-summer] on Instagram [https://www.instagram.com/additionstothearchive/], Substack [https://sullivansummer.substack.com/?utm_campaign=profile_chips], and wherever you get your podcasts.

Cheryl Thompson, "Staging Blackface in Canada: Public Amusements, Variety Shows, and Racial Acts in an Age of Imitation, 1898-1919" (Wilfrid Laurier Press, 2026)

In the early twentieth century, as variety shows flooded Canadian stages, new forms of blackface, inspired by modern forms of amusements, changed the theatre. In this era marked by progressive social reforms, the stage embodied the modern ethos of imitation, mimicry, and change. Staging Blackface in Canada: Public Amusements, Variety Shows, and Racial Acts in an Age of Imitation, 1898-1919 (Wilfrid Laurier Press, 2026) covers a moment when Canadians did not produce professional theatre, but they built amusement parks, wrote songs, and produced records. As the stage (drama), and its variants (burlesque, light opera) adapted elements from the new stages (amusement parks, social dance, and film), the modern culture popularized forms of blackface that impacted white, Anglo-Protestant, and English-speaking audiences, and drew theatrical criticism. This book explores a twenty-year period in Canada’s history when there was no media regulation, and no mandate to promote Canadian culture. Through an examination of theatrical reviews, images, and textual records, Staging Blackface in Canada locates how the Canadian stage became a playground for ethnic jokes, racial caricature, and women’s emancipation. It also locates some of the first Black musicals and operas to appear on Canadian stages. This episode also mentions a previous Additions to the Archive episode [https://newbooksnetwork.com/es-pranza-humphrey-act-black-posters-from-black-american-stage-screen-poster-house-museum-2026] with assistant curator of New York City’s Poster House museum, Es-pranza Humphrey, and her exhibition “Act Black: Posters From Black American Stage & Screen.” You can find Cheryl at her website [https://www.drcherylthompson.com/], on Instagram [https://www.instagram.com/theblackcreativelab/], and on LinkedIn [https://ca.linkedin.com/in/cheryl-thompson-phd] And check out her previous appearances on the Additions to the Archive podcast [https://newbooksnetwork.com/canada-and-the-blackface-atlantic] and Substack [https://sullivansummer.substack.com/p/performance-culture-from-blackface]. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer [https://newbooksnetwork.com/category/up-partners/additions-to-the-archive-with-sullivan-summer] on Instagram [https://www.instagram.com/additionstothearchive/], Substack [https://sullivansummer.substack.com/?utm_campaign=profile_chips], and wherever you get your podcasts.