Cane, Corn & Gully (Out-Spoken Press), the debut book by Barbadian-British Safiya Kamaria Kinshasa, brings together poems and dance “to observe, question, and ruminate on what it means to adopt, perform, and pass down the notion of black West Indian femininity.” Diagrammed notations of traditional Caribbean dance movements as well as “everyday rituals” alternate with the author’s powerful meditations on survival and rebellion.

Home Is Not a Place (William Collins), by British photographer Johnny Pitts and Trinidadian-British poet Roger Robinson, explores Black British history and culture through images, poems, and essays documenting a roadtrip across the length and breadth of Britain, made by the authors during 2021. “The authors found not only Black British culture long overlooked in official narratives of Britain,” writes the publisher, “but also the history of Empire and transatlantic slavery to which every Briton is tethered.”

The Islands (Catapult), a new book of short fiction by Jamaican-descended Canadian Dionne Irving, ranges over continents and decades to tell the restless stories of Jamaican women at home and in the far-flung diaspora. These characters — immigrants from Jamaica or the offspring of immigrants — grapple with practicalities of displacement, self-reinvention, and the finding and making of home, whether in 1950s London or present-day New Jersey.

Still Standing: The Ti Kais of Dominica (Papillote Press), with text by Adom Philogene-Heron and photographs by Marica Honychurch, is an amply illustrated volume telling the story of the vernacular architecture of Dominica, and in particular the traditional wooden cottages called ti kais. Designed to be economical to construct but also resilient against hurricanes and earthquakes, these dwellings are a crucial but often overlooked aspect of Dominica’s rich creole heritage.

Hurvin Anderson (Rizzoli), the first major monograph on the work of the Jamaican-British artist, nominated for the Turner Prize, includes substantial visual documentation of his career, with a foreword by Courtney J. Martin, an essay by Catherine Lampert, and poems by Roger Robinson. In Anderson’s paintings, the publisher writes, “a tug-of-war plays out between abstraction and figuration, nature versus the manmade, beauty and menace, and his British and Jamaican heritage.”