Spotlight on Fatuma Hydara: Founder of Tuma’s Books, Bookseller of Diverse Literature
Sarah Ambrus • October 28, 2024

Fatuma Hydara is the owner of Tuma’s Books in New York City. She is a former educator and a Muslim, first-generation Gambian-American. She is committed to helping her customers find amazing, authentic stories by Black, Indigenous, and POC authors. 


SA: Tell me a little about your bookstore, your mission, and how you got started. 


FH:
Tuma’s Books was named after myself. I try to specialize in books with a rich cultural heritage. I primarily focus on authors of color, but the main focus is [to] learn about other cultures through literature. 


I think what drives me is being a Black, first-generation Gambian-American woman, I never see myself fully in stories that I’m reading, even as an adult.  [It’s] a very curated space, so if you’re Costa Rican or Guatemalan, or you’re from Myanmar, you can just go to
my website and there’ll be a book there that is representative of you. 


As an online pop-up bookstore, I’m not going to compete as a general bookstore. So I have to think about what my passion is and how to niche down, and that just came naturally to me. 


SA: Have you come across, or met any booksellers, that are doing what you’re doing?

Fatuma Hydara is the owner of Tuma’s Books in New York City. She is a former educator and a Muslim, first-generation Gambian-American. She is committed to helping her customers find amazing, authentic stories by Black, Indigenous, and POC authors. 


SA: Tell me a little about your bookstore, your mission, and how you got started. 


FH:
Tuma’s Books was named after myself. I try to specialize in books with a rich cultural heritage. I primarily focus on authors of color, but the main focus is [to] learn about other cultures through literature. 


I think what drives me is being a Black, first-generation Gambian-American woman, I never see myself fully in stories that I’m reading, even as an adult.  [It’s] a very curated space, so if you’re Costa Rican or Guatemalan, or you’re from Myanmar, you can just go to
my website and there’ll be a book there that is representative of you. 

As an online pop-up bookstore, I’m not going to compete as a general bookstore. So I have to think about what my passion is and how to niche down, and that just came naturally to me. 


SA: Have you come across, or met any booksellers, that are doing what you’re doing?

FH: That specific niche of looking for books that have a rich cultural heritage, not necessarily. In terms of ownership, I’m the only black Muslim-owned bookstore that I’m aware of. 


SA: Well it’s powerful to be one of the first at something. 

So what have you noticed, as far as the customer base? Is it typically people looking for something from their own culture? People saying “I want to find something about this other culture that I want to learn about”? Do you notice any trends or patterns?


FH: Interestingly, I started the bookstore for people looking for their own culture, but most of my client base is white ladies. Which is fine. So it has been like a weird disconnect to me because then you fall into the trap of “who am I catering to” and making sure you’re still sticking to your mission. I think part of it is access, so that’s why I have to create access programming. This is why I do free diverse books funds where I try to offer free books at events or stock bargain books to try to lower the cost when I’m at pop-ups. It’s not even that they don’t necessarily have the money. It’s that money is tight and priorities are different. I think sometimes, in certain communities, where it feels like a waste of money or they think of it like a school thing. Like you read books in school or if you’re a student in college and not something that you just do for fun. I think it’s doing the long game and the more that’s out there and the more people see what books are available the more that part of the client base will expand. People buy books for their kids, but not for themselves and that’s weird to me. Adults don’t see themselves as readers. That was one thing that surprised me, because I expected my customers to be other women of color and that’s not the case. 


SA: I was curious because I’m wondering - as far as trends you’re seeing coming out of big publishing houses - what are you noticing?


FH: I think part of it is because of the way I do my research, I sometimes miss the trends. Like if you’re looking for bestsellers, go to Barnes and Noble. Those books have enough promotion and they don’t need me to do that. But I do notice the same books would stay on the bestsellers list forever and they all look the same. They’re all similar stories. They’re not as diverse as they could be. If it is an author of color, I think sometimes authors are stuck in niche genres. 


SA: Oh, that’s interesting. Tell me more about that. What genres do you feel like you notice that in?


FH: I feel like there’s a lot of Black books that always have the race component. Sometimes…we just be chilling at the pool. Can I have a beach romance book with a Black woman? The thing is, readers will read anything [but] publishers have decided what they think will sell and make decisions based on that, but…who did you ask? You [publishers] just assumed who the readers are in this country, right? Part of that is connected to history. At some point, people didn’t have permission to read so it makes sense. Publishers are very much targeting people who are reading because they have the time and privilege to read. Women of color, like black women - we’re reading and what we’re reading is starting to shift a little bit, too.


SA: Yeah, that makes a lot of sense. Are you personally reading anything right now that you’re loving or any particular author that you want to shout out to?


FH: I’m in a graphic novel phase, and so there’s a comic book publishing company, Fair Square Comics [now FairSquare Graphics LLC], that I discovered at a pop-up. They’re the first Black and immigrant-owned comic publisher. Their books are just so good. Most of them are translated fiction and their writers are from all over. There’s one of their books, called Fox In My Brain and it’s about mood disorders. The art is amazing and it’s not just for kids, but there are adult graphic novels too. 


SA: So as far as people wanting to branch out and learn about other cultures through literature, what would be some recommendations that you would have for somebody reading this article and it’s their first exposure to this? Where’s a good place to start? What kinds of questions should they ask? Where and what should they research? How can they do it in a way that’s appropriate, respectful, and coming from a place of genuine curiosity and interest?


FH: I think one step is following the creators who are from those communities because they’re going to have read the book and they’ll be able to highlight problematic content that you might not. I think oftentimes people think to diversify their reading they need to completely change their reading. It’s like no, if you love thrillers, sis, you can keep reading thrillers, but there are other people who write thrillers. Just diversifying within your favorite genres could be a really good place to start. 

Typically, if the author's identity matches the identity of the characters in the story, it’s usually fairly safe. I also look at reviews from people who share the heritage of those stories. I think that’s also helpful. It’s just being curious and being open. Reading is political. What you consume is going to shift your perspective. 


If you are interested in diversifying your bookshelf, check out Tuma’s Books today and support another great independent bookstore!

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At Lioness Books, we believe that books are not merely a matter of ink and paper, but are armories brimming with the untamed ordinance of freedom, ideas, transformation, progress and inspiration; arsenals forged to fight the soul-silencing tyranny of ignorance and suppression. Under current political conditions, the United States has seen an alarming escalation in the scope and scale of book censorship, with our great state of Texas leading the charge in aggressive restriction of accessing books which explore race, gender, sexuality, and social justice. In 2025, the banning of books has re-emerged not as a fringe idea or lesson in history, but as a strategy within a broader effort to control cultural narratives and shift our truths. Disguised as protection, this current call for censorship threatens the very essence of what a bookstore believes in and represents… a free exchange of ideas. We, as Texans, are standing at an epochal crossroads, facing a challenge that is not simply a battleground for intellectual freedom, but a fatal threat to democracy herself. Here at Lioness Books, we are resolute in our dedication to this struggle, and we are committed to fight without compromise nor capitulation. Texas, more than any other state, leads the country in formal book challenges and bans. According to data from PEN America, a nonprofit organization that tracks censorship in literature, Texas school districts have led the nation in book bans for the past five years. These bans often target works of LGBTQ authors, books by and about people of color, and works that confront America’s historical injustices. The political justification tends to hinge on vague or loaded terms such as obscenity, indoctrination, or inappropriate content, without recognizing the literary or didactic value of the works in question.  What we are witnessing in Texas is not just a reaction to individual titles, but the deliberate use of censorship as a political weapon to reshape public education and discourse. State legislators have passed and proposed laws that limit how teachers can discuss race and gender in classrooms, and library materials are now under scrutiny from elected boards, whose knowledge of literature and learning is more often than not, slim to none. These developments are not isolated. They are part of a coordinated national trend that has pushed Texas out front as the ideological epicenter and political testing-ground for this refurnished brand of censorship. These bans do more than remove books; they erase the experiences of marginalized communities, signaling to students - especially those from underrepresented groups - that their stories don’t matter. We believe our youth deserve better. They deserve literature that reflects the full spectrum of human experience, and to deny access to those diverse perspectives is to rob them of a chance to develop critical thinking, empathy, insight, and a nuanced understanding of the world. The pages of history are stained with the consequences of book bans, a tactic employed by those who seek to suffocate the human spirit’s capacity for thought and soulful transformation. In Nazi Germany, the beginning flames of fascism were fed with kindling constructed of novels, poems, political papers, and science texts deemed un-German, degenerate , or contrary to the country’s nationalist ideology. Their 1933 book burnings were not vandalism but a calculated effort to erase ideas that threatened fascist control, setting the stage for the cultural and moral devastation that was soon to come. In the Jim Crow South, from Reconstruction through the Civil Rights era, books that affirmed the dignity of Black Americans or exposed the horrors of racism - like Zora Neale Hurston’s Their Eyes Were Watching God - were systematically excluded from public access to preserve the narrative of racial inferiority. The McCarthy era in 1950s America also echoed this fear of ideas, as the government’s frantic, anti-communist crusade led to the blacklisting of authors, librarians, and teachers. Works such as Thoreau’s Civil Disobedience and John Steinbeck’s The Grapes Of Wrath were pulled from library shelves beneath the accusation of promoting leftist ideals, and for daring to question the status quo. History offers countless parallels: the 16th century burning of Mayan codices, and the erasing of indigenous knowledge by the Spanish, or the Chinese Communist Party’s destruction of counterrevolutionary texts during the Cultural Revolution. Each instance reveals censorship as the weapon of choice for those who fear the power of knowledge and the capacity of the right words to awaken consciences, stir emotions, and ignite movements of change. These lessons from the past compel us to resist the book bans of today, recognizing them as assaults on the very essence of intellectual and moral freedom. Texas - where freedom and independence have long been considered God-given birthrights - we must resist being the next to fall into the goose-step march of oppression, censorship, and control. Our children deserve better. Our teachers deserve better. Our future deserves better, and our democracy - messy, plural, and defiant - demands better. For Lioness Books, our resistance to this suppression is not just a matter of principle. It is a recognition of literature’s role in the eternal struggle for justice and truth. We call home a state where the political climate has become increasingly hostile towards dissent, and where public education is being transformed into a war of ideological conformity. As a bookstore, we are under no illusion that our shelves alone can halt these efforts. But we believe in the power that books possess in uniting and sustaining resistance and delivering hope. By preserving access to stories, we preserve the heartful soul of culture; we preserve truth. When we defend the right to read; we affirm liberty and the right to question, dream, and dissent. This has nothing to do with nostalgia. This is survival. Lioness Books will continue to stock what is banned, what is hidden, what is suppressed, and we will celebrate what is silenced. We will carry the voices forward proudly and full-throated. Because history shows us, when you ban a book, you don’t erase its truth… you ignite its power.