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DuBose Heyward (1885-1940) was a central figure in the Charleston and the Southern Renaissance. His influence extended to the Harlem Renaissance as well. However, Heyward is often remembered simply as the author of Porgy, the 1925 novel about the poorest black residents of Charleston, South Carolina. Porgy -- the novel and its stage versions -- has probably done more to shape views worldwide of African American life in the South than any twentieth-century work besides Gone with the Wind. This reader acquaints us with writings by Heyward that have been overshadowed by Porgy, and it also plumbs the complex sensibilities of the man behind that popular and enduring creation.

James M. Hutchisson's introduction relates aspects of Heyward's life to his creative growth and his gradual shift from staunch social conservatism to a liberal (though never revolutionary) advocacy of black rights. The reader collects ten essays by Heyward on topics ranging from an aesthetics of African American art to the history of Charleston. Heyward's poetry is represented by eighteen pieces from the collections Carolina Chansons, Skylines and Horizons, and Jasbo Brown and Other Poems. Also included are three song lyrics Heyward wrote for the opera Porgy and Bess. The sampling of Heyward's fiction includes "The Brute" and The Half Pint Flask and excerpts from the novels Porgy, Mamba's Daughters, and Peter Ashley.

Here is an ideal introduction to a figure whose inner conflicts were closely tied to those of his beloved South: struggles between privilege and poverty, black and white, and art for the few versus art for the masses.

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Langston Hughes has been an inspiration to generations of readers and writers seeking a passionate, intelligent, and socially responsible art. In this volume, Steven C. Tracy has gathered a broad range of critics to produce an interdisciplinary approach to the important historical and cultural
elements reflected in the variety of genres in which Hughes worked. Through the lenses of creative writers, musicians, social activists and critics, this collection explores the ways that Hughes transformed American literature and society. Rooting his aesthetic in the art and values of Black folk,
Hughes mediated the conflicting artistic demands of both the literati and the masses, demonstrating the social and spiritual power of art. Contributors to this volume place Hughes in the context of Harlem, his preferred geographical and spiritual home base, as well as the larger political, social,
musical, and artistic milieu of his rapidly changing times. Their essays examine Hughes's negotiation of his own moral and ethical ground in a complex, sometimes hostile world, and demonstrate the remarkable triumph of a sensitive, creative human being who refused to be overwhelmed by the forces of
discrimination, pessimism, and bitterness that claimed so many writers of his generation. An essentially very private individual, Hughes nonetheless rejected difficulty, obscurity, and the ivory tower in order to generate a very public life and art. This volume, with its historical essays, brief
biography, and illustrated chronology, provides a concise yet authoritative portrait of one of America's and the world's most beloved writers.

Ralph Ellison has been a controversial figure, both lionized and vilified, since he seemed to burst onto the national literary scene in 1952 with the publication of Invisible Man. In this volume Steven C. Tracy has gathered a broad range of critics who look not only at Ellison's seminal novel
but also at the fiction and nonfiction work that both preceded and followed it, focusing on important historical and cultural influences that help contextualize Ellison's thematic concerns and artistic aesthetic. These essays, all previously unpublished, explore how Ellison's various
apprenticeships--in politics as a Black radical; in music as an admirer and practitioner of European, American, and African-American music; and in literature as heir to his realist, naturalist, and modernist forebears--affected his mature literary productions, including his own careful molding of
his literary reputation. They present us with a man negotiating the difficult sociopolitical, intellectual, and artistic terrain facing African Americans as America was increasingly forced to confront its own failures with regard to the promise of the American dream to its diverse populations. These
wide-ranging historical essays, along with a brief biography and an illustrated chronology, provide a concise yet authoritative discussion of a twentieth-century American writer whose continued presence on the stage of American and world literature and culture is now assured.

Jean Toomer achieved instant recognition as a critic and thinker in 1923 with the publication of his novel Cane, a harsh, eloquent vision of black American hardship and suffering. But because of his reclusive, introspective nature, Toomer's fame waned in later years, and today his other
contributions to American thought and literature are all but forgotten. Now, this collection of unpublished writings restores a crucial dimension to our understanding of this important African American author. Thematically arranging letters, sketches, poems, autobiography, short stories, a play, and
a children's story, Frederik Rusch offers insight into Toomer's mind and spirituality, his feelings on racial identity in America, and his attitudes toward and ideas about Cane. Rusch highlights Toomer's reflections on America, its people, landscape, and politics, reveals his significance for the
problems and issues of today, and helps us understand Toomer not only as writer, but also as social critic, prophet, mystic, and idealist. Exploring Toomer's attempts to find self-realization and transcend social and cultural definitions of race, this book offers a unique view of the United States
through the life of one of its most significant and fascinating intellectuals.

A collection of essays on literature and life from the activist and scholar

Anthropologist and author Zora Neale Hurston (1891-1960) is one of the most significant African American writers of the 20th century. Born in Alabama, she grew up in a small town in Florida, where she developed an interest in African American folklore. In 1925 she moved to New York and became part of the Harlem Renaissance, meeting such figures as Langston Hughes and Carl Van Vechten. She continued her anthropological research at Barnard under Franz Boas, and African American folklore became central to her fiction. She is best remembered as the author of Jonah's Gourd Vine, Their Eyes Were Watching God, and Mules and Men, her study of African American folklore of the South. This reference is a convenient and thorough guide to her life and writings. A chronology outlines the major events in her life and her most significant accomplishments, while a short biography offers a narrative assessment of her career. The heart of the book is a collection of hundreds of alphabetically arranged entries. These cover her works, characters, themes, motifs, family members, and acquaintances. Entries for the most important topics include suggestions for further reading, and the volume closes with extensive primary and secondary bibliographies.

The sociology of race relations in America typically describes an intersection of poverty, race, and economic discrimination. But what is missing from the picture--sexual difference--can be as instructive as what is present. In this ambitious work, Roderick A. Ferguson reveals how the discourses of sexuality are used to articulate theories of racial difference in the field of sociology. He shows how canonical sociology--Gunnar Myrdal, Ernest Burgess, Robert Park, Daniel Patrick Moynihan, and William Julius Wilson--has measured African Americans' unsuitability for a liberal capitalist order in terms of their adherence to the norms of a heterosexual and patriarchal nuclear family model. In short, to the extent that African Americans' culture and behavior deviated from those norms, they would not achieve economic and racial equality. Aberrations in Black tells the story of canonical sociology's regulation of sexual difference as part of its general regulation of African American culture. Ferguson places this story within other stories--the narrative of capital's emergence and development, the histories of Marxism and revolutionary nationalism, and the novels that depict the gendered and sexual idiosyncrasies of African American culture--works by Richard Wright, Ralph Ellison, James Baldwin, Audre Lorde, and Toni Morrison. In turn, this book tries to present another story--one in which people who presumably manifest the dys-functions of capitalism are reconsidered as indictments of the norms of state, capital, and social science. Ferguson includes the first-ever discussion of a new archival discovery--a never-published chapter of Invisible Man that deals with a gay character in a way thatcomplicates and illuminates Ellison's project. Unique in the way it situates critiques of race, gender, and sexuality within analyses of cultural, economic, and epistemological formations, Ferguson's work introduces a new mode of discourse--which Ferguson calls queer of color analysis--that helps to lay bare the mutual distortions of racial, economic, and sexual portrayals within sociology. A hard-hitting look at the regulation of sexual difference and its role in circumscribing African American culture.

"Beginning with the arts produced in the Colonial period, Dr. Lewis documents and interprets the flow of creative productions of an important segment of the American population. Her book shows that the range of art produced by African American artists covers the entire spectrum of craft productions through painting, sculpture, and printmaking. There is a progressive development of style that not only reflects the trends in particular periods, but reveals an evolving pattern of indigenous qualities that are distinct. The art community in general and the African American community in particular are fortunate to have Dr. Samella Lewis, for she has developed unusual authority in the area of African American art. I know that "African American Art and Artists "will be of great value educationally and that it will offer a stimulating and rewarding experience to all who have the opportunity to share in its contents."--Jacob Lawrence

A visual celebration of African American art from its beginnings in Colonial America up to the present day. From early folk art to contemporary prints, paintings, and sculpture, here is the remarkable fruit of America's black artistic heritage.

This study of atheist African American writers poses a substantive challenge to those who see atheism in despairing and nihilistic terms. Lackey argues that while most white atheists mourn the loss of faith, many black atheists--believing the "God-concept" spawns racism and oppression--consider the death of God a cause for personal and political hope. Focusing on a little-discussed aspect of African American literature, this full-length analysis of African American atheists' treatment of God fills a huge gap in studies that consistently ignore their contributions. Examining how a belief in God and His "chosen people" necessitates a politics of superiority and inferiority, Lackey implicitly considers the degree to which religious faith is responsible for justifying oppression, even acts of physical and psychological violence. In their secular vision of social and political justice, black atheists argue that only when the culture adopts and internalizes a truly atheist politics--one based on pluralism, tolerance, and freedom--will radical democracy be achieved. Of primary interest to scholars of African American studies, this volume also will appeal to religious scholars, philosophers, anthropologists, and religious and secular humanists.

There is growing popular and scholarly interest in autobiography, along with increasing regard for the achievements of African American writers. The first reference of its kind, this volume chronicles the autobiographical tradition in African American literature. Included are alphabetically arranged entries for 66 African American authors who present autobiographical material in their works. The volume profiles major figures, such as Frederick Douglass, Zora Neale Hurston, Richard Wright, Maya Angelou, James Baldwin, and Malcolm X, along with many lesser known autobiographers who deserve greater attention. While some are known primarily for their literary accomplishments, others have gained acclaim for their diverse contributions to society. The entries are written by expert contributors and provide authoritative information about their subjects. Each begins with a concise biography, which summarizes the life and achievements of the autobiographer. This is followed by a discussion of major autobiographical works and themes, along with an overview of the autobiographer's critical reception. The entries close with primary and secondary bibliographies, and a selected, general bibliography concludes the volume. Together, the entries provide a detailed portrait of the African American autobiographical tradition from the 18th century to the present.

Slave narratives were one of the earliest forms of African American writing. These works, autobiographical in nature, later fostered other pieces of African American autobiography. Since the rise of Black Studies in the late 1960s, leading critics have constructed black lives and letters as antitheses of the ways and writings of mainstream American culture. According to such thinking, black writing stems from a set of experiences very different from the world of whites, and black autobiography must therefore differ radically from heroic white American tales. But in pointing to differences between black and white autobiographical works, these critics have overlooked the similarities. This volume argues that the African American autobiography is a continuation of the epic tradition, much as the prose narratives of voyage by white Americans in the nineteenth century likewise represent the evolution of the epic genre. The book makes clear that the writers of black autobiography have shared and shaped American culture, and that their works are very much a part of American literature. An introductory essay provides a theoretical framework for the chapters that follow. It discusses the origins of African American autobiography and the larger themes of the epic tradition that are common to the works of both black and white authors. The book then pairs representative African American autobiographies with similar works by white writers. Thus the volume matches Olaudah Equiano's slave narrative with The Autobiography of Benjamin Franklin, the Narrative of the Life of Frederick Douglass, An American Slave with Richard Henry Dana's Two Years Before the Mast, and Harriet Jacobs' Incidents in the Lifeof a Slave Girl with Fanny Fern's Ruth Hall. The study indicates that these various works all recognize the importance of learning as a means for attaining freedom. The final chapter provides a broad survey of the African American autobiography.

"African American Literary Theory is an extraordinary gift to literary studies. It is necessary, authoritative and thorough. The timing of this book is superb!" — Karla F.C. Holloway, Duke University "The influence of African American literature can be attributed, in no small part, to the literary theorists gathered in this collection. This is a superb anthology that represents a diversity of voices and points of view, and a much needed historical retrospective of how African American literary theory has developed." — Marlon B. Ross, University of Michigan "A volume of great conceptual significance and originality in its focus on the development of African American literary theory." — Farah Jasmine Griffin, University of Pennsylvania African American Literary Theory: A Readeris the first volume to document the central texts and arguments in African American literary theory from the 1920s through the present. As the volume progresses chronologically from the rise of a black aesthetic criticism, through the Blacks Arts Movement, feminism, structuralism and poststructuralism, and the rise of queer theory, it focuses on the key arguments, themes, and debates in each period. By constantly bringing attention to the larger political and cultural issues at stake in the interpretation of literary texts, the critics gathered here have contributed mightily to the prominence and popularity of African American literature in this country and abroad.African American Literary Theoryprovides a unique historical analysis of how these thinkers have shaped literary theory, and literature at large, and will be a indispensable text for the study of African American intellectual culture.Contributors include Sandra Adell, Michael Awkward, Houston A. Baker, Jr., Hazel V. Carby, Barbara Christian, W.E.B. DuBois, Ann duCille, Ralph Ellison, Henry Louis Gates, Jr., Addison Gayle Jr., Carolyn F. Gerald, Evelynn Hammonds, Phillip Brian Harper, Mae Gwendolyn Henderson, Stephen E. Henderson, Karla F.C. Holloway, Langston Hughes, Zora Neale Hurston, LeRoi Jones (Amiri Baraka), Joyce A. Joyce, Alain Locke, Wahneema Lubiano, Deborah E. McDowell, Harryette Mullen, Larry Neal, Charles I. Nero, Robert F. Reid-Pharr, Marlon B. Ross, George S. Schuyler, Barbara Smith, Valerie Smith, Hortense J. Spillers, Sherley Anne Williams, and Richard Wright.