Eric Gardner – författare

Black Print Unbound explores the development of the Christian Recorder during and just after the American Civil War. As a study of the official African Methodist Episcopal Church newspaper (a periodical of national reach and scope among free African Americans), Black Print Unbound is thus at once a massive recovery effort of a publication by African Americans for African Americans, a consideration of the nexus of African Americanist inquiry and print culture studies, and an intervention in the study of literatures of the Civil War, faith communities, and periodicals. The book pairs a longitudinal sense of the Recorder's ideological, political, and aesthetic development with the fullest account available of how the physical paper moved from composition to real, traceable subscribers. It builds from this cultural and material history to recover and analyze diverse and often unknown texts published in the Recorder including letters, poems, and a serialized novel-texts that were crucial to the development of African American literature and culture and that challenge our senses of genre, authorship, and community. In this, Black Print Unbound offers a case study for understanding how African Americans inserted themselves in an often-hostile American print culture in the midst of the most complex conflict the young nation had yet seen, and it thus calls for a significant rewriting of our senses of African American-and so American-literary history.

Black Print Unbound explores the development of the Christian Recorder during and just after the American Civil War. As a study of the official African Methodist Episcopal Church newspaper (a periodical of national reach and scope among free African Americans), Black Print Unbound is thus at once a massive recovery effort of a publication by African Americans for African Americans, a consideration of the nexus of African Americanist inquiry and print culture studies, and an intervention in the study of literatures of the Civil War, faith communities, and periodicals. The book pairs a longitudinal sense of the Recorder's ideological, political, and aesthetic development with the fullest account available of how the physical paper moved from composition to real, traceable subscribers. It builds from this cultural and material history to recover and analyze diverse and often unknown texts published in the Recorder including letters, poems, and a serialized novel-texts that were crucial to the development of African American literature and culture and that challenge our senses of genre, authorship, and community. In this, Black Print Unbound offers a case study for understanding how African Americans inserted themselves in an often-hostile American print culture in the midst of the most complex conflict the young nation had yet seen, and it thus calls for a significant rewriting of our senses of African American-and so American-literary history.

Black Print Unbound explores the development of the Christian Recorder during and just after the American Civil War. As a study of the African Methodist Episcopal Church newspaper and so of a periodical with national reach among free African Americans, Black Print Unbound is at once a massive recovery effort of a publication by African Americans for African Americans, a consideration of the nexus of African Americanist inquiry and print culture studies, and an intervention in the study of literatures of the Civil War, faith communities, and periodicals.

Black Print Unbound explores the development of the Christian Recorder during and just after the American Civil War. As a study of the African Methodist Episcopal Church newspaper and so of a periodical with national reach among free African Americans, Black Print Unbound is at once a massive recovery effort of a publication by African Americans for African Americans, a consideration of the nexus of African Americanist inquiry and print culture studies, and an intervention in the study of literatures of the Civil War, faith communities, and periodicals.

In a trans-bellum public career of over fifty years, Frances Ellen Watkins Harper fought for abolition, women's suffrage, Black suffrage, civil rights, and temperance. She fashioned a sense of literature across genre that engaged deeply with both her activism and questions of aesthetics, craft, and art. Still, while Harper was well-known during her lifetime, many twentieth-century critics dismissed or ignored her. Even amid interest spurred by a new generation of scholars, Harper has often been reduced to an abolitionist poet who later, decades after emancipation, published a notable novel. Her massive efforts amid the Civil War and Reconstruction have been especially understudied and misunderstood.Frances Ellen Watkins Harper's Civil War and Reconstruction explores how this major African American author-activist claimed the book's nation-shaking moments as her own. Author Eric Gardner places a longitudinal sense of Harper's novels, poems, essays, and sketches published during these years alongside the fullest investigation to date of her lecturing career, and explores how she crisscrossed the nation-lecturing in locations from Maine to Florida to Kansas-to advocate for human rights. The book thus brings exciting new insight to Harper's oratory and activism, serialized novels like Minnie's Sacrifice and Sowing and Reaping, and key poetry from Moses to Sketches of Southern Life, and it links the breadth and reach of her ideas directly to her tenacious itinerancy.Recognizing Harper as an important analyst of her social and political moment, a public intellectual, a mother, a poet, a storyteller, a teacher, a theologian, and, simultaneously, a Black woman working in often-unwelcoming public spaces, the book builds from deep archival research to combine biography, cultural history, and context-centered literary analysis. It argues that Harper forged an intersectional praxis of public life that modelled the citizenship she demanded and that danced with constructions of community, memory, and history amid national upheaval. It focuses on Harper's vision of what Reconstruction could be-not only what needed to be built back after the Civil War but what needed to be wiped away and what needed to be created anew to enact “a more perfect union.”

In a trans-bellum public career of over fifty years, Frances Ellen Watkins Harper fought for abolition, women's suffrage, Black suffrage, civil rights, and temperance. She fashioned a sense of literature across genre that engaged deeply with both her activism and questions of aesthetics, craft, and art. Still, while Harper was well-known during her lifetime, many twentieth-century critics dismissed or ignored her. Even amid interest spurred by a new generation of scholars, Harper has often been reduced to an abolitionist poet who later, decades after emancipation, published a notable novel. Her massive efforts amid the Civil War and Reconstruction have been especially understudied and misunderstood.Frances Ellen Watkins Harper's Civil War and Reconstruction explores how this major African American author-activist claimed the book's nation-shaking moments as her own. Author Eric Gardner places a longitudinal sense of Harper's novels, poems, essays, and sketches published during these years alongside the fullest investigation to date of her lecturing career, and explores how she crisscrossed the nation-lecturing in locations from Maine to Florida to Kansas-to advocate for human rights. The book thus brings exciting new insight to Harper's oratory and activism, serialized novels like Minnie's Sacrifice and Sowing and Reaping, and key poetry from Moses to Sketches of Southern Life, and it links the breadth and reach of her ideas directly to her tenacious itinerancy.Recognizing Harper as an important analyst of her social and political moment, a public intellectual, a mother, a poet, a storyteller, a teacher, a theologian, and, simultaneously, a Black woman working in often-unwelcoming public spaces, the book builds from deep archival research to combine biography, cultural history, and context-centered literary analysis. It argues that Harper forged an intersectional praxis of public life that modelled the citizenship she demanded and that danced with constructions of community, memory, and history amid national upheaval. It focuses on Harper's vision of what Reconstruction could be-not only what needed to be built back after the Civil War but what needed to be wiped away and what needed to be created anew to enact a a more perfect union.a

In a trans-bellum public career of over fifty years, Frances Ellen Watkins Harper fought for abolition, women's suffrage, Black suffrage, civil rights, and temperance. She fashioned a sense of literature across genre that engaged deeply with both her activism and questions of aesthetics, craft, and art. Still, while Harper was well-known during her lifetime, many twentieth-century critics dismissed or ignored her. Even amid interest spurred by a new generation of scholars, Harper has often been reduced to an abolitionist poet who later, decades after emancipation, published a notable novel. Her massive efforts amid the Civil War and Reconstruction have been especially understudied and misunderstood.Frances Ellen Watkins Harper's Civil War and Reconstruction explores how this major African American author-activist claimed the book's nation-shaking moments as her own. Author Eric Gardner places a longitudinal sense of Harper's novels, poems, essays, and sketches published during these years alongside the fullest investigation to date of her lecturing career, and explores how she crisscrossed the nation-lecturing in locations from Maine to Florida to Kansas-to advocate for human rights. The book thus brings exciting new insight to Harper's oratory and activism, serialized novels like Minnie's Sacrifice and Sowing and Reaping, and key poetry from Moses to Sketches of Southern Life, and it links the breadth and reach of her ideas directly to her tenacious itinerancy.Recognizing Harper as an important analyst of her social and political moment, a public intellectual, a mother, a poet, a storyteller, a teacher, a theologian, and, simultaneously, a Black woman working in often-unwelcoming public spaces, the book builds from deep archival research to combine biography, cultural history, and context-centered literary analysis. It argues that Harper forged an intersectional praxis of public life that modelled the citizenship she demanded and that danced with constructions of community, memory, and history amid national upheaval. It focuses on Harper's vision of what Reconstruction could be-not only what needed to be built back after the Civil War but what needed to be wiped away and what needed to be created anew to enact a a more perfect union.a

This volume offers the most nuanced treatment available of Black engagement with print in the transitional years after the Civil War. It locates and studies materials that many literary historians leave out of narratives of American culture. But as important as such recovery work is, African American Literature in Transition, 1865-1880 also emphasizes innovative approaches, recognizing that such recovery inherently challenges methods dominant in American literary study. At the book's core is the recognition that many period texts - by writers from Frances Ellen Watkins Harper and William Wells Brown to Mattie Jackson and William Steward - are not only aesthetically striking but also central to understanding key socio-historical and cultural trends in the nineteenth century. Chapters by leading scholars are grouped in three sections - 'Citizenships, Textualities, and Domesticities', 'Persons and Bodies', and 'Memories, Materialities, and Locations' - and focus on debates over race, nation, personhood, and print that were central to Reconstruction.

This volume offers the most nuanced treatment available of Black engagement with print in the transitional years after the Civil War. It locates and studies materials that many literary historians leave out of narratives of American culture. But as important as such recovery work is, African American Literature in Transition, 1865–1880 also emphasizes innovative approaches, recognizing that such recovery inherently challenges methods dominant in American literary study. At the book''s core is the recognition that many period texts - by writers from Frances Ellen Watkins Harper and William Wells Brown to Mattie Jackson and William Steward - are not only aesthetically striking but also central to understanding key socio-historical and cultural trends in the nineteenth century. Chapters by leading scholars are grouped in three sections - ''Citizenships, Textualities, and Domesticities'', ''Persons and Bodies'', and ''Memories, Materialities, and Locations'' - and focus on debates over race, nation, personhood, and print that were central to Reconstruction.

This volume offers the most nuanced treatment available of Black engagement with print in the transitional years after the Civil War. It locates and studies materials that many literary historians leave out of narratives of American culture. But as important as such recovery work is, African American Literature in Transition, 1865–1880 also emphasizes innovative approaches, recognizing that such recovery inherently challenges methods dominant in American literary study. At the book''s core is the recognition that many period texts - by writers from Frances Ellen Watkins Harper and William Wells Brown to Mattie Jackson and William Steward - are not only aesthetically striking but also central to understanding key socio-historical and cultural trends in the nineteenth century. Chapters by leading scholars are grouped in three sections - ''Citizenships, Textualities, and Domesticities'', ''Persons and Bodies'', and ''Memories, Materialities, and Locations'' - and focus on debates over race, nation, personhood, and print that were central to Reconstruction.

Winner 2010 Outstanding Academic Title ChoiceWinner 2010 EBSCOhost / Research Society for American Periodicals Book PrizeHonorable Mention 2010 Thomas J. Lyon Book Award, Western Literature AssociationIn January of 1861, on the eve of both the Civil War and the rebirth of the African Methodist Episcopal Church's Christian Recorder, John Mifflin Brown wrote to the paper praising its editor Elisha Weaver: ""It takes our Western boys to lead off. I amproud of your paper.""Weaver's story, though, like many of the contributions of early black literature outside of the urban Northeast, has almost vanished. Unexpected Places: Relocating Nineteenth-Century African American Literature recovers the work of early African American authors and editors such as Weaver who have been left off maps drawn by historians and literary critics. Individual chapters restore to consideration black literary locations in antebellum St. Louis, antebellum Indiana, Reconstruction-era San Francisco, and several sites tied to the Philadelphia-based Recorder during and after the Civil War.In conversation with both archival sources and contemporary scholarship, Unexpected Places calls for a large-scale rethinking of the nineteenth-century African American literary landscape. In addition to revisiting such better-known writers as William Wells Brown, Maria Stewart, and Hannah Crafts, Unexpected Places offers the first critical considerations of important figures including William Jay Greenly, Jennie Carter, Polly Wash, and Lizzie Hart. The book's discussion of physical locations leads naturally to careful study of how region is tied to genre, authorship, publication circumstances, the black press, domestic and nascent black nationalist ideologies, and black mobility in the nineteenth century.

In June 1867, the San Francisco Elevator-one of the nation's premier black weekly newspapers during Reconstruction-began publishing articles by a Californian calling herself ""Ann J. Trask"" and later ""Semper Fidelis."" Her name was Jennie Carter (1830-1881), and the Elevator would print her essays, columns, and poems for seven years. Carter probably spent her early life in New Orleans, New York, and Wisconsin, but by the time she wrote her ""Always Faithful"" columns for the newspaper, she was in Nevada County, California. Her work considers California and national politics, race and racism, women's rights and suffrage, temperance, morality, education, and a host of other issues, all from the point of view of an unabashedly strong-minded African American woman. Recovering Carter's work from obscurity, this volume represents one of the most exciting bodies of extant work by an African American journalist before the twentieth century. Editor Eric Gardner provides an introduction that documents as much of Carter\'s life in California as can be known and places her work in historical and literary context.

Winner 2010 Outstanding Academic Title ChoiceWinner 2010 EBSCOhost / Research Society for American Periodicals Book PrizeHonorable Mention 2010 Thomas J. Lyon Book Award, Western Literature AssociationIn January of 1861, on the eve of both the Civil War and the rebirth of the African Methodist Episcopal Church's Christian Recorder, John Mifflin Brown wrote to the paper praising its editor Elisha Weaver: ""It takes our Western boys to lead off. I amproud of your paper.""Weaver's story, though, like many of the contributions of early black literature outside of the urban Northeast, has almost vanished. Unexpected Places: Relocating Nineteenth-Century African American Literature recovers the work of early African American authors and editors such as Weaver who have been left off maps drawn by historians and literary critics. Individual chapters restore to consideration black literary locations in antebellum St. Louis, antebellum Indiana, Reconstruction-era San Francisco, and several sites tied to the Philadelphia-based Recorder during and after the Civil War.In conversation with both archival sources and contemporary scholarship, Unexpected Places calls for a large-scale rethinking of the nineteenth-century African American literary landscape. In addition to revisiting such better-known writers as William Wells Brown, Maria Stewart, and Hannah Crafts, Unexpected Places offers the first critical considerations of important figures including William Jay Greenly, Jennie Carter, Polly Wash, and Lizzie Hart. The book's discussion of physical locations leads naturally to careful study of how region is tied to genre, authorship, publication circumstances, the black press, domestic and nascent black nationalist ideologies, and black mobility in the nineteenth century.

Appointed is a recently recovered novel written by William Anderson and Walter Stowers, two of the editors of the Detroit Plaindealer, a long-running and well-regarded African American newspaper of the late nineteenth century. Drawing heavily on nineteenth-century print culture, the authors tell the story of John Saunders, a college-educated black man living and working in Detroit. Through a bizarre set of circumstances, Saunders befriends his white employer’s son, Seth Stanley, and the two men form a lasting, cross-racial bond that leads them to travel together to the American South. On their journey, John shows Seth the harsh realities of American racism and instructs him in how he might take responsibility for alleviating the effects of racism in his own home and in the white world broadly.As a coauthored novel of frustrated ambition, cross-racial friendship, and the tragedy of lynching, Appointed represents a unique contribution to African American literary history. This is the first scholarly edition of Appointed, and it includes a collection of writings from the Plaindealer, the authors’ short story “A Strange Freak of Fate,” and an introduction that locates Appointed and its authors within the journalistic and literary currents of the United States in the late nineteenth century.

J. McHenry Jones’s Hearts of Gold is a gripping tale of post–Civil War battles against racism and systemic injustice. Originally published in 1896, this novel reveals an African American community of individuals dedicated to education, journalism, fraternal organizations, and tireless work serving the needs of those abandoned by the political process of the white world. Jones challenges conventional wisdom by addressing a range of subjects—from interracial relationships to forced labor in coal mines—that virtually no other novelist of the time was willing to approach. With the addition of an introduction and appendix, this new edition reveals the difficult foundations upon which African Americans built a platform to address injustice, generate opportunities, and play a prominent role in American social, economic, and political life.

J. McHenry Jones's Hearts of Gold is a gripping tale of post-Civil War battles against racism and systemic injustice. Originally published in 1896, this novel reveals an African American community of individuals dedicated to education, journalism, fraternal organizations, and tireless work serving the needs of those abandoned by the political process of the white world. Jones challenges conventional wisdom by addressing a range of subjects - from interracial relationships to forced labor in coal mines - that virtually no other novelist of the time was willing to approach. With the addition of an introduction and appendix, this new edition reveals the difficult foundations upon which African Americans built a platform to address injustice; generate opportunities; and play a prominent role in American social, economic, and political life.

J. McHenry Jones's Hearts of Gold is a gripping tale of post-Civil War battles against racism and systemic injustice. Originally published in 1896, this novel reveals an African American community of individuals dedicated to education, journalism, fraternal organizations, and tireless work serving the needs of those abandoned by the political process of the white world. Jones challenges conventional wisdom by addressing a range of subjects - from interracial relationships to forced labor in coal mines - that virtually no other novelist of the time was willing to approach. With the addition of an introduction and appendix, this new edition reveals the difficult foundations upon which African Americans built a platform to address injustice; generate opportunities; and play a prominent role in American social, economic, and political life.

Appointed is a recently recovered novel written by William Anderson and Walter Stowers, two of the editors of the Detroit Plaindealer, a long-running and well-regarded African American newspaper of the late nineteenth century. Drawing heavily on nineteenth-century print culture, the authors tell the story of John Saunders, a college-educated black man living and working in Detroit. Through a bizarre Set of circumstances, Saunders befriends his white employer's son, Seth Stanley, and the two men form a lasting, cross-racial bond that leads them to travel together to the American South. On their journey, John shows Seth the harsh realities of American racism and instructs him in how he might take responsibility for alleviating the effects of racism in his own home and in the white world broadly.As a coauthored novel of frustrated ambition, cross-racial friendship, and the tragedy of lynching, Appointed represents a unique contribution to African American literary history. This is the first scholarly edition of Appointed, and it includes a collection of writings from the Plaindealer, the authors' short story "A Strange Freak of Fate", and an introduction that locates Appointed and its authors within the journalistic and literary currents of the United States in the late nineteenth century.

Appointed is a recently recovered novel written by William Anderson and Walter Stowers, two of the editors of the Detroit Plaindealer, a long-running and well-regarded African American newspaper of the late nineteenth century. Drawing heavily on nineteenth-century print culture, the authors tell the story of John Saunders, a college-educated black man living and working in Detroit. Through a bizarre Set of circumstances, Saunders befriends his white employer's son, Seth Stanley, and the two men form a lasting, cross-racial bond that leads them to travel together to the American South. On their journey, John shows Seth the harsh realities of American racism and instructs him in how he might take responsibility for alleviating the effects of racism in his own home and in the white world broadly.As a coauthored novel of frustrated ambition, cross-racial friendship, and the tragedy of lynching, Appointed represents a unique contribution to African American literary history. This is the first scholarly edition of Appointed, and it includes a collection of writings from the Plaindealer, the authors' short story "A Strange Freak of Fate", and an introduction that locates Appointed and its authors within the journalistic and literary currents of the United States in the late nineteenth century.

Lenny Ray Johnson is a good man. He knows it. His wife Bertha Jean knows it. Everybody in Clarksdale, Mississippi knows it.Until they don't.All Lenny Ray wanted was a Friday night out with his best friend Beebo, a couple of drinks at the Hen & Rooster Lounge, and to make it home to his wife. What he got instead was one too many "e;Shotguns,"e; a blackout he can't account for, and a visit four weeks later from Mabel Ann Williams — Beebo's girlfriend — parked sideways across his street with news that changes everything.She's pregnant. And Lenny Ray is the daddy. Or at least, that's what everybody believes.Now Lenny Ray is caught between the woman he loves, the child he never meant to father, his clueless best friend who still doesn't know what's going on, and a Reverend whose Sunday sermons about honesty and accountability may be hiding a secret bigger than anyone in the congregation could imagine.Set against the warm, wry rhythms of small-town Mississippi life, Daddy Can't Do No Wrong is a wildly entertaining story of tangled love, hard truth, and the kind of forgiveness that can only come when everything is out in the open — whether you're ready for it or not. With a cast of unforgettable characters who love loud, fight hard, and laugh even harder, this is a novel about what it truly means to do right by the people who matter most.Because in Clarksdale, secrets don't keep. They just get bigger.