A new edition of the classic African American autobiography, now with with the inclusion of Douglass's other works.The pre-eminent American slave narrative published in 1845, the Narrative powerfully details the life of the abolitionist Frederick Douglass from his birth into slavery in 1818 to his escape to the North in 1838: how he endured the daily physical and spiritual brutalities of his owners and drivers, how he learned to read and write, and how he grew into a man who could only live free or die.Also included in this edition are Douglass's famous oration The Meaning of the Fourth of July to the Negro and his only known work of fiction, the novella The Heroic Slave.Frederick Augustus Washington Bailey was born into slavery in 1818 in Tuckahoe, Maryland. He changed his surname to Douglass to conceal his identity after escaping slavery in 1838 and making his way to Philadelphia and New York. Having been taught to read by the wife of one of his former owners, Douglass wrote later that literacy was his 'pathway from slavery to freedom', and in 1845 he published his instantly bestselling Narrative of the Life of Frederick Douglass, an American Slave. Renowned as the foremost African American advocate against slavery and segregation of his time, he repeatedly risked his own freedom as an antislavery lecturer, writer and publisher. He died in Washington, D.C., in 1895, and after lying in state in the nation's capital, was buried in the Mount Hope Cemetery in Rochester, New York.Ira Dworkin is Associate Director of the Prince Alwaleed Center for American Studies and Research and Assistant Professor of English and Comparative Literature at The American University in Cairo.

An updated edition of a classic African American autobiography, with new supplementary materialsThe preeminent American slave narrative first published in 1845, Frederick Douglass’s Narrative powerfully details the life of the abolitionist from his birth into slavery in 1818 to his escape to the North in 1838, how he endured the daily physical and spiritual brutalities of his owners and driver, how he learned to read and write, and how he grew into a man who could only live free or die. In addition to Douglass’s classic autobiography, this new edition also includes his most famous speech “What to the Slave Is the Fourth of July?” and his only known work of fiction, The Heroic Slave, which was written, in part, as a response to Harriet Beecher Stowe’s Uncle Tom’s Cabin.For more than sixty-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.From the Trade Paperback edition.

In his 1903 hit ""Congo Love Song,"" James Weldon Johnson recounts a sweet if seemingly generic romance between two young Africans. While the song's title may appear consistent with that narrative, it also invokes the site of King Leopold II of Belgium's brutal colonial regime at a time when African Americans were playing a central role in a growing Congo reform movement. In an era when popular vaudeville music frequently trafficked in racist language and imagery, ""Congo Love Song"" emerges as one example of the many ways that African American activists, intellectuals, and artists called attention to colonialism in Africa.In this book, Ira Dworkin examines black Americans' long cultural and political engagement with the Congo and its people. Through studies of George Washington Williams, Booker T. Washington, Pauline Hopkins, Langston Hughes, Malcolm X, and other figures, he brings to light a long-standing relationship that challenges familiar presumptions about African American commitments to Africa. Dworkin offers compelling new ways to understand how African American involvement in the Congo has helped shape anticolonialism, black aesthetics, and modern black nationalism.

In his 1903 hit “Congo Love Song,” James Weldon Johnson recounts a sweet if seemingly generic romance between two young Africans. While the song’s title may appear consistent with that narrative, it also invokes the site of King Leopold II of Belgium’s brutal colonial regime at a time when African Americans were playing a central role in a growing Congo reform movement. In an era when popular vaudeville music frequently trafficked in racist language and imagery, “Congo Love Song” emerges as one example of the many ways that African American activists, intellectuals, and artists called attention to colonialism in Africa.In this book, Ira Dworkin examines black Americans’ long cultural and political engagement with the Congo and its people. Through studies of George Washington Williams, Booker T. Washington, Pauline Hopkins, Langston Hughes, Malcolm X, and other figures, he brings to light a long-standing relationship that challenges familiar presumptions about African American commitments to Africa. Dworkin offers compelling new ways to understand how African American involvement in the Congo has helped shape anticolonialism, black aesthetics, and modern black nationalism.

In his 1903 hit “Congo Love Song,” James Weldon Johnson recounts a sweet if seemingly generic romance between two young Africans. While the song’s title may appear consistent with that narrative, it also invokes the site of King Leopold II of Belgium’s brutal colonial regime at a time when African Americans were playing a central role in a growing Congo reform movement. In an era when popular vaudeville music frequently trafficked in racist language and imagery, “Congo Love Song” emerges as one example of the many ways that African American activists, intellectuals, and artists called attention to colonialism in Africa.In this book, Ira Dworkin examines black Americans’ long cultural and political engagement with the Congo and its people. Through studies of George Washington Williams, Booker T. Washington, Pauline Hopkins, Langston Hughes, Malcolm X, and other figures, he brings to light a long-standing relationship that challenges familiar presumptions about African American commitments to Africa. Dworkin offers compelling new ways to understand how African American involvement in the Congo has helped shape anticolonialism, black aesthetics, and modern black nationalism.

A new edition of the classic African American autobiography, now with with the inclusion of Douglass's other works.The pre-eminent American slave narrative published in 1845, the Narrative powerfully details the life of the abolitionist Frederick Douglass from his birth into slavery in 1818 to his escape to the North in 1838: how he endured the daily physical and spiritual brutalities of his owners and drivers, how he learned to read and write, and how he grew into a man who could only live free or die.Also included in this edition are Douglass's famous oration The Meaning of the Fourth of July to the Negro and his only known work of fiction, the novella The Heroic Slave.Frederick Augustus Washington Bailey was born into slavery in 1818 in Tuckahoe, Maryland. He changed his surname to Douglass to conceal his identity after escaping slavery in 1838 and making his way to Philadelphia and New York. Having been taught to read by the wife of one of his former owners, Douglass wrote later that literacy was his 'pathway from slavery to freedom', and in 1845 he published his instantly bestselling Narrative of the Life of Frederick Douglass, an American Slave. Renowned as the foremost African American advocate against slavery and segregation of his time, he repeatedly risked his own freedom as an antislavery lecturer, writer and publisher. He died in Washington, D.C., in 1895, and after lying in state in the nation's capital, was buried in the Mount Hope Cemetery in Rochester, New York.Ira Dworkin is Associate Director of the Prince Alwaleed Center for American Studies and Research and Assistant Professor of English and Comparative Literature at The American University in Cairo.

An updated edition of a classic African American autobiography, with new supplementary materialsThe preeminent American slave narrative first published in 1845, Frederick Douglass’s Narrative powerfully details the life of the abolitionist from his birth into slavery in 1818 to his escape to the North in 1838, how he endured the daily physical and spiritual brutalities of his owners and driver, how he learned to read and write, and how he grew into a man who could only live free or die. In addition to Douglass’s classic autobiography, this new edition also includes his most famous speech “What to the Slave Is the Fourth of July?” and his only known work of fiction, The Heroic Slave, which was written, in part, as a response to Harriet Beecher Stowe’s Uncle Tom’s Cabin.For more than sixty-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.From the Trade Paperback edition.

In his 1903 hit ""Congo Love Song,"" James Weldon Johnson recounts a sweet if seemingly generic romance between two young Africans. While the song's title may appear consistent with that narrative, it also invokes the site of King Leopold II of Belgium's brutal colonial regime at a time when African Americans were playing a central role in a growing Congo reform movement. In an era when popular vaudeville music frequently trafficked in racist language and imagery, ""Congo Love Song"" emerges as one example of the many ways that African American activists, intellectuals, and artists called attention to colonialism in Africa.In this book, Ira Dworkin examines black Americans' long cultural and political engagement with the Congo and its people. Through studies of George Washington Williams, Booker T. Washington, Pauline Hopkins, Langston Hughes, Malcolm X, and other figures, he brings to light a long-standing relationship that challenges familiar presumptions about African American commitments to Africa. Dworkin offers compelling new ways to understand how African American involvement in the Congo has helped shape anticolonialism, black aesthetics, and modern black nationalism.

In his 1903 hit “Congo Love Song,” James Weldon Johnson recounts a sweet if seemingly generic romance between two young Africans. While the song’s title may appear consistent with that narrative, it also invokes the site of King Leopold II of Belgium’s brutal colonial regime at a time when African Americans were playing a central role in a growing Congo reform movement. In an era when popular vaudeville music frequently trafficked in racist language and imagery, “Congo Love Song” emerges as one example of the many ways that African American activists, intellectuals, and artists called attention to colonialism in Africa.In this book, Ira Dworkin examines black Americans’ long cultural and political engagement with the Congo and its people. Through studies of George Washington Williams, Booker T. Washington, Pauline Hopkins, Langston Hughes, Malcolm X, and other figures, he brings to light a long-standing relationship that challenges familiar presumptions about African American commitments to Africa. Dworkin offers compelling new ways to understand how African American involvement in the Congo has helped shape anticolonialism, black aesthetics, and modern black nationalism.

In his 1903 hit “Congo Love Song,” James Weldon Johnson recounts a sweet if seemingly generic romance between two young Africans. While the song’s title may appear consistent with that narrative, it also invokes the site of King Leopold II of Belgium’s brutal colonial regime at a time when African Americans were playing a central role in a growing Congo reform movement. In an era when popular vaudeville music frequently trafficked in racist language and imagery, “Congo Love Song” emerges as one example of the many ways that African American activists, intellectuals, and artists called attention to colonialism in Africa.In this book, Ira Dworkin examines black Americans’ long cultural and political engagement with the Congo and its people. Through studies of George Washington Williams, Booker T. Washington, Pauline Hopkins, Langston Hughes, Malcolm X, and other figures, he brings to light a long-standing relationship that challenges familiar presumptions about African American commitments to Africa. Dworkin offers compelling new ways to understand how African American involvement in the Congo has helped shape anticolonialism, black aesthetics, and modern black nationalism.