After Color Media Kit

Book Title: After Color

Author: Malaika Favorite

FOR IMMEDIATE RELEASE

Contact: Nina Alvarez
editor@cosmographiabooks.com
Cosmographia Books https://www.cosmographiabooks.com/

Renowned Artist and Author Malaika Favorite Unveils After Color, A Hauntingly Beautiful Novel About Seeing What Others Cannot

A stunning speculative novel about color, memory, and the courage to be different—releasing May 1, 2025, from Cosmographia Books

February 2025 – Louisiana, USA – What happens when the world loses color—not just as an idea, but as a reality? And what does it mean to be the only person who can still see what everyone else has forgotten?

In After Color (Cosmographia Books, May 1, 2025), award-winning visual artist and writer Malaika Favorite crafts a spellbinding story about difference, perception, and the power of memory. Set in a future where humanity has lost the ability to see color, the novel follows fifteen-year-old Jade Kelly as she experiences the impossible—red against a gray world. But with this gift comes exile, fear, and a burden she never asked to bear.

Told in luminous prose that brings the shock of returning color to life, After Color explores the fine line between hope and fear, individuality and conformity, memory and erasure. With shades of Octavia Butler’s speculative depth and Toni Morrison’s poetic clarity, Favorite creates a world where the ability to see is both a gift and a curse.

About the Author

Malaika Favorite is a celebrated visual artist and writer whose work appears in major collections across the United States. Known for her mixed media works incorporating washboards, African fabrics, and historical narratives, her art explores themes of ancestry, racial identity, and Southern cultural heritage.

As a writer, she has received numerous prestigious awards, including the Cosmographia Books Prize for Spiritual Fiction (After Color, 2025), the April Gloaming Publishing Moon Meridian Novella Award (The Author Project, 2024), and the Broadside Lotus Press Naomi Long Madgett Poetry Award (Ascension, 2016).

Her latest collaboration with Walt Disney World Resort and Disneyland Resort—a mural for the new Tiana’s Bayou Adventure attraction—demonstrates her ability to bring history, culture, and art together in vibrant, unforgettable ways.

A Louisiana native, Favorite’s work masterfully weaves personal narrative with political consciousness, ensuring that both her art and writing remain deeply relevant to today’s cultural conversations.

Availability & Media Inquiries

After Color will be available in print and digital formats on May 1, 2025 via Cosmographia Books and major booksellers. For review copies, interviews, event bookings, or additional media requests, please contact:

📩 Nina Alvarez, Publisher, editor@cosmographiabooks.com
🌐 https://www.cosmographiabooks.com/

Author Biography

Malaika Favorite – Biography

Malaika Favorite is an acclaimed visual artist and writer whose work is featured in major collections across the United States. Her art—often incorporating mixed media elements like washboards and African fabrics—explores themes of ancestry, racial identity, and Southern cultural heritage. As a writer, she has garnered multiple prestigious awards, including the Cosmographia Books Prize for Spiritual Fiction (After Color, 2025), the April Gloaming Publishing Moon Meridian Novella Award (The Author Project, 2024), and the Broadside Lotus Press Naomi Long Madgett Poetry Award (Ascension, 2016). Her earlier works include Dreaming at the Manor and Illuminated Manuscript.

A Louisiana native with a legacy of significant public art installations throughout the American South, Favorite’s work stands as a powerful testament to the African-American experience, masterfully weaving together personal narrative and political consciousness. Most recently, she collaborated with Walt Disney World Resort and Disneyland Resort to create a mural for the new attraction, Tiana’s Bayou Adventure, inspired by The Princess and the Frog.

High-Resolution Images

Cover art “The Golden Glove” Malaika Favorite, mixed media, Baton Rouge Gallery

Author Malaika Favorite

Please contact editor@cosmographiabooks.com to use this photo.

Author photo by Romero & Romero Photo

Excerpt from "White Fire"(Prologue)

The year 2025, later known as 4 ACL

The procession started at Ponce de Leon and continued down Boulevard towards Grant Park. Those who came for the march did not come empty-handed. They held their treasures close, just as the prophet said they would.

The musicians that led the way sounded like a New Orleans funeral march. The press watched from across the street, filming and taking pictures. The marchers paid no attention. To them, they were nothing but carrion birds, feasting on death.

No one—not the photographers or the marchers—saw the woman at the edge of the park, hiding behind the rose bushes. She watched and waited. She was very hot, parched even, but she dared not waste a drop of the water in her thermos on herself.

The prophet walked behind the musicians, dressed in a black robe with a printed black-and-white African-inspired prayer shawl around his neck. In one hand he carried a large Bible, in the other hand a walking cane with a zebra head. His entourage of disciples followed behind him. Like the prophet, many of the older men had walking canes; the women all carried black Bibles. The entourage varied in age from elderly to young. Their shaved heads, wet with sweat, glistened in the sun.

One man stood out from the rest. His hair was braided, not shaved. He carried a folded, brightly colored cloth item in his hands.

They began to sing. It was the old Christian hymn “Is Your All on the Altar?” and the musicians in the procession picked up the tune.

"You have longed for sweet peace,
And for faith to increase,
And have earnestly, fervently prayed;
But you cannot have rest,
Or be perfectly blest,
Until all on the altar is laid."

When they arrived at the park, some of the disciples had already started a small white fire. A slight breeze caused the flames to dance to the hymn. The prophet continued his song, revising sections to suit the occasion:

"Is your all on the altar of sacrifice laid?
Your heart does the old world control
You can only be blest,
And have peace and sweet rest,
As you yield Him everything you adore."

Then abruptly, the prophet raised his right hand. The music stopped. He gave the large Bible to the younger man slightly behind him and then faced the crowd. The march seemed to have exhausted him. He leaned on his cane as he spoke.

"My faithful friends and followers. We all knew it would one day come to this. We have a charge to keep. For years we prayed for the rain of cleansing. We begged for a sign. But no sign was given except the sign of the ninth plague that God gave the children of Egypt when they refused to let his people go." He raised his cane in the air as if he was Moses about to strike the sky. "Darkness! Darkness! Darkness! The only sign we’ve received from on high."

It was a hot evening in July. Just about everyone was sweating and uncomfortable, but no one could take their eyes off the prophet. They all shouted, "Amen!"

The woman watching from the bushes couldn’t see everything, but she could make out the arm of the leader as he pointed his cane. A guitar player, one of the musicians who had led the march, stepped forward. He stood near the flames, holding his instrument, painted for him by a famous artist when color ruled the world. He strummed and sang a short, mournful tune about things lost. When he finished, he stared at the fire for what seemed like a 13 

long time, then he took the guitar strap from around his neck; he mumbled as if he was saying a silent prayer then he cast his instrument into the flames. The flames began to lick the guitar as if the fire was a hungry beast, they heard cracking sounds as if the beast was chewing. 

Excerpt from “Lascaux” Chapter

The High Museum closed to the public at five p.m., but those with special membership levels could visit after hours between five and six. There were only a handful of cars in the parking lot besides Sarah’s and a black sedan that pulled in shortly after them.

At the ticket counter, Sarah said, "We would like two tickets for the BCL section, please.”

Sarah showed him her museum card. "Okay, Mrs. Moores. And who is this with you?"

"This is my granddaughter, Jade."

Jade gave him her BCL Clearance card. He looked at it. "Oh, I see you have BCL clearance, too, Ms. Kelly. Who are your parents?"

"Andrew and Helen Kelly," she answered.

"Of course. Mr. and Mrs. Kelly, they are some of our best patrons along with Mrs. Moores. Do come in. Let me get some ID passes."

The two top floors of the High Museum had been converted into the BCL section. Because of the rebellions, all works containing color were kept there, each piece secured behind shatter-proof glass partitions. Jade had visited the galleries before with her parents, but that was before she saw color. Now she was going to see them in their original states. She was full of excitement, but she also had a lingering fear that maybe it was all a deception.

Maybe there were no color paintings left. Maybe all the works would be in black and white with gray values—forgeries. Who would know the difference anyway?

They started in the BCL Modern period because Sarah wanted to visit the Jacob Lawrence paintings and a Beauford Delaney. Jade was delighted to see that she was wrong. She gasped in delight. Everything was in color—all original works as far as she could tell.

She made sure no one was close enough to listen, and then Jade described the paintings for her grandmother. They were standing in front of Jacob Lawrence’s Marionettes, tempera on gesso panel, 1952.

"Grandma, it's almost like our two worlds. The top is all dark gray, white, and dull browns, and then there are people at the bottom with blue, yellow ocher, and reds, but the people are all crushed and oppressed by the dark shades at the top."

She was pleased to be able to use the word “ocher” correctly, which she had only recently learned.

"Well, that about describes us," Sarah agreed. "Though I’d love to see even dull browns."

They walked through the modern BCL period and paused at every painting. Jade was amazed at how the artists had captured the colors and used them to tell detailed stories. How much better the forms looked in color as opposed to how they looked in black and white.

"What color is the Rothko, Jade? They should have descriptions on these things, that would make it easier for us who want to remember."

"It's kind of ocher at the top and mostly red-orange with a hint of a—I'm not sure what to call that color. It's red, but too dark for red."

"You're talking too loud," Sarah said in a low voice. "Someone will hear you."

"Sorry." She looked around. There were very few people in the room. One was a guard, and one an elderly woman carefully studying a street scene by Richard Estes​.

"Dad says they used to have the color descriptions on each painting, but they had to remove them because of the rebellions. He said the museum board voted to make a catalog of the collection that they sell to people like us with special passes. The catalog contains the color descriptions. Do you want to buy one?"

"No, why should I do that when I have you?”

Additional Information

Awards & Recognitions:

  • Cosmographia Books Prize for Spiritual Fiction – After Color (2025)

  • April Gloaming Publishing Moon Meridian Novella Award – The Author Project (2024)

  • Broadside Lotus Press Naomi Long Madgett Poetry Award – Ascension (2016)

Upcoming Events & Appearances:

  • After Color Book Launch with Writers & Books Literary Center (virtual) May 27, 7 pm

  • more events coming soon

Social Media & Website:

  • Website: https://www.cosmographiabooks.com/

  • Instagram: https://www.instagram.com/cosmographiabooks/

  • Facebook: https://www.facebook.com/CosmographiaBooks/

Contact Information:

  • For Media Inquiries: Nina Alvarez, Publisher, Cosmographia Books, editor@cosmographiabooks.com