• When you look back at the Dafina books that have really sparked your interest, do you see any common threads or themes?

I think the unifying theme in Dafina is humanity. It’s a shame to say it, but a huge part of the reason lines like Dafina exist is because for a long time, Black people weren’t seen as…people. Not to say things are perfect now, but the arts is one area where it can be easier to get someone to open up their mind and engage with someone who’s a little--or a lot--different from themselves. And I think every Dafina title, whether it’s a biography, street lit, suspense or book club novel, creates a little world for the reader to sink into and live as someone else for a little while.

• Over the last several years, we've seen a lot of imprints similar to Dafina be shut down or folded into other existing imprints. Why do you think Dafina has lasted?

I think the main thing is that Kensington has truly been a leader in this area, from the time Walter Zacharius created Arabesque Books. So it’s a really important part of our identity and something that every single person at this company feels strongly about continuing into the future. Also, there is a real loyalty in the readership for authors like Mary Monroe, Shelly Ellis, and Kiki Swinson —borne, I believe, out of finding a home when everyone else was telling you that you don’t belong.

• What is your vision for Dafina going forward? Do you have any specific goals for the next few years?

I’ve got so many goals! But one thing I’m really keen on doing is acquiring novels that are specifically engaging with cultural identity as central to their plot. Happily, we already have authors on our list (for example, Aya de León and her Justice Hustlers series) doing this work and I’m excited to see the team expand in that area. We’re also hoping to reinvigorate our nonfiction list–one of the true goals of diversity is creating diversity of thought, so we’ll be looking for nonfiction in popular subjects from points of view that haven’t been heard as often.

• How have the books published in Dafina changed over the past 20 years?

When it was first established, Dafina’s slogan was “Publishing books by and about African-Americans.” At a time when African-American was a genre by default, having an imprint that acquired, promoted, and published books categorized in this way was vital. Over the years, that catchline evolved to “books by and about people of African descent,” acknowledging that not all of the books’ authors – or the characters they wrote – identified as African-American. More recently and as we move forward, however, we’ve felt it important that Dafina’s mission explicitly communicate the more nuanced understanding of race and identity that is reflected in the authors and books it publishes. We now characterize Dafina as an imprint with a focus on commercial fiction and non-fiction that centers race and cultural identity. I think this desire to define the imprint in ways beyond simply having people of a certain race in the books shows both the way Dafina has changed over the years and the vision for Dafina going forward.

• What is something you would like to see more of in the Dafina submissions that come your way?

I think the publishing industry can fall into the trap of thinking that if you’re writing about race, then the book is a downer. There are many serious, unflinching conversations to be had around this topic, and I want those. But I’d love to see submissions that are celebratory as well, that speak truthfully to the characters’ experiences in all facets of their lives, including the most joyful. Even in the hardest of times, people laugh and love and play silly games with their friends and I’d love more submissions that highlight all the cultural specifics that inform those parts of our lives. Some upcoming Dafina releases that do this well are THE GIFT OF FAMILY by Mary Monroe, THE SEASIDE CAFÉ by Rochelle Alers, and THE ESSENCE OF PERFECTION by Nita Brooks.

• What’s something you love about working not just as an editor or in publishing, but in this particular corner of the industry?

Publishing may be a majority white industry, but it has never been an all-white industry. And I feel strongly about the importance of increased diversity, but also the importance of not erasing those of us that are here, some for decades. And what I’ve found in this particular corner of the industry is an understanding and camaraderie around this specific tension—a drive to push for growth and change without ignoring everyone who has already been doing the work.