John Stauffer – författare

A newly edited collection of the seminal writings and speeches of a legendary writer, orator, and civil rights leader.The life of Frederick Douglass is nothing less than the history of America in the 19th century from slavery to reconstruction. His influence was felt in the political sphere, major social movements, literary culture, and even international affairs. His resounding words tell not only his own remarkable story, but also that of a burgeoning nation forced to reckon with its tremulous moral ground. This compact volume offers a full course on a necessary historical figure, giving voice once again to a man whose guiding words are needed now as urgently as ever. The Portable Frederick Douglass includes the full range of Douglass's writings, from autobiographical writings that span from his life as a slave child to his memories of slavery as an elder statesman in the late 1870s; his protest fiction (one of the first works of African American fiction); his brilliant oratory, constituting the greatest speeches of the Civil War era, which launched his political career; and his journalistic essays that range from cultural and political critique toart, literature, law, history, philosophy, and reform.

A LANDMARK SHORT STORY COLLECTION: More than 100 short stories by 51 different 19th-century writers redefine the great American literary form Incudes both literary masterpieces—including classic stories by Poe, Hawthorne, Twain, James, and Wharton—and new rediscoveriesAs much a nineteenth-century American invention as baseball, the cotton gin, and the steamboat, the short story emerged here with a range of innovation and a variety of styles and subjects that has still not been fully appreciated. Diverse, wide-ranging, and unprecedented in its scope, this new two-volume collection gathers more than 100 stories by 51 different writers to track the development of the American short story from Charles Brockden Brown’s fragments and Washington Irving’s sketches to Poe’s gothic tales of horror to Mark Twain’s humorous stories to the Gilded Age masterpieces of Henry James and Edith Wharton. Among the many unexpected writers in collection are: the antebellum Black writer and physician James McCune Smith, whose sketches in his “Heads of the Colored People” series lampooned the pseudoscientific racism of phrenology ; Lucretia Hale, the author of the feminist fantasy “The Queen of the Red Chessman,” perhaps the greatest one-hit wonder of the mid-nineteenth century; and Fitz-James O’Brien, the author of such unnerving horror stories as “The Lost Room” and “What Was It?,” whose true themes and concerns twenty-first century readers, accustomed to reading gay fiction, will not miss.From gothic horror to frontier folk tales, dark mysteries and interior pyschological dramas, this unprecedented two-volume story anthology captures a world of literary expression and experimentation that will surprise and delight.

The first African American to receive a medical degree, this invaluable collection brings together the writings of James McCune Smith, one of the foremost intellectuals in antebellum America. The Selected Writings of James McCune Smith is one of the first anthologies featuring the works of this illustrious scholar. Perhaps best known for his introduction to Fredrick Douglass's My Bondage and My Freedom, his influence is still found in a number of aspects of modern society and social interactions. And he was considered by many to be a prophet of the twenty-first century. One of the earliest advocates of the use of "black" instead of "colored," McCune Smith treated racial identities as social constructions, arguing that American literature, music, and dance would be shaped and defined by blacks. Organized chronologically, the collection covers over 40 years of writing, including speeches, letters, and essays, and begins with McCune Smith's first speech as an 11-year old boy to the Marquis de Lafayette. Providing historical context for McCune Smith's current cultural relevance, this book showcases writings on black education and self-help, citizenship, and the fight against racism.

It was sung at Ronald Reagan''s funeral, and adopted with new lyrics by labor radicals. John Updike quoted it in the title of one of his novels, and George W. Bush had it performed at the memorial service in the National Cathedral for victims of September 11, 2001. Perhaps no other song has held such a profoundly significant--and contradictory--place in America''s history and cultural memory than the "The Battle Hymn of the Republic."In this sweeping study, John Stauffer and Benjamin Soskis show how this Civil War tune has become an anthem for cause after radically different cause. The song originated in antebellum revivalism, with the melody of the camp-meeting favorite, "Say Brothers, Will You Meet Us." Union soldiers in the Civil War then turned it into "John Brown''s Body." Julia Ward Howe, uncomfortable with Brown''s violence and militancy, wrote the words we know today. Using intense apocalyptic and millenarian imagery, she captured the popular enthusiasm of the time, the sense of a climactic battle between good and evil; yet she made no reference to a particular time or place, allowing it to be exported or adapted to new conflicts, including Reconstruction, sectional reconciliation, imperialism, progressive reform, labor radicalism, civil rights movements, and social conservatism. And yet the memory of the song''s original role in bloody and divisive Civil War scuttled an attempt to make it the national anthem. The Daughters of the Confederacy held a contest for new lyrics, but admitted that none of the entries measured up to the power of the original."The Battle Hymn" has long helped to express what we mean when we talk about sacrifice, about the importance of fighting--in battles both real and allegorical--for the values America represents. It conjures up and confirms some of our most profound conceptions of national identity and purpose. And yet, as Stauffer and Soskis note, the popularity of the song has not relieved it of the tensions present at its birth--tensions between unity and discord, and between the glories and the perils of righteous enthusiasm. If anything, those tensions became more profound. By following this thread through the tapestry of American history, The Battle Hymn of the Republic illuminates the fractures and contradictions that underlie the story of our nation.

It was sung at Ronald Reagan's funeral, and adopted with new lyrics by labor radicals. John Updike quoted it in the title of one of his novels, and George W. Bush had it performed at the memorial service in the National Cathedral for victims of September 11, 2001. Perhaps no other song has held such a profoundly significant--and contradictory--place in America's history and cultural memory than the "The Battle Hymn of the Republic."In this sweeping study, John Stauffer and Benjamin Soskis show how this Civil War tune has become an anthem for cause after radically different cause. The song originated in antebellum revivalism, with the melody of the camp-meeting favorite, "Say Brothers, Will You Meet Us." Union soldiers in the Civil War then turned it into "John Brown's Body." Julia Ward Howe, uncomfortable with Brown's violence and militancy, wrote the words we know today. Using intense apocalyptic and millenarian imagery, she captured the popular enthusiasm of the time, the sense of a climactic battle between good and evil; yet she made no reference to a particular time or place, allowing it to be exported or adapted to new conflicts, including Reconstruction, sectional reconciliation, imperialism, progressive reform, labor radicalism, civil rights movements, and social conservatism. And yet the memory of the song's original role in bloody and divisive Civil War scuttled an attempt to make it the national anthem. The Daughters of the Confederacy held a contest for new lyrics, but admitted that none of the entries measured up to the power of the original."The Battle Hymn" has long helped to express what we mean when we talk about sacrifice, about the importance of fighting--in battles both real and allegorical--for the values America represents. It conjures up and confirms some of our most profound conceptions of national identity and purpose. And yet, as Stauffer and Soskis note, the popularity of the song has not relieved it of the tensions present at its birth--tensions between unity and discord, and between the glories and the perils of righteous enthusiasm. If anything, those tensions became more profound. By following this thread through the tapestry of American history, The Battle Hymn of the Republic illuminates the fractures and contradictions that underlie the story of our nation.

It was sung at Ronald Reagan''s funeral, and adopted with new lyrics by labor radicals. John Updike quoted it in the title of one of his novels, and George W. Bush had it performed at the memorial service in the National Cathedral for victims of September 11, 2001. Perhaps no other song has held such a profoundly significant--and contradictory--place in America''s history and cultural memory than the "The Battle Hymn of the Republic."In this sweeping study, John Stauffer and Benjamin Soskis show how this Civil War tune has become an anthem for cause after radically different cause. The song originated in antebellum revivalism, with the melody of the camp-meeting favorite, "Say Brothers, Will You Meet Us." Union soldiers in the Civil War then turned it into "John Brown''s Body." Julia Ward Howe, uncomfortable with Brown''s violence and militancy, wrote the words we know today. Using intense apocalyptic and millenarian imagery, she captured the popular enthusiasm of the time, the sense of a climactic battle between good and evil; yet she made no reference to a particular time or place, allowing it to be exported or adapted to new conflicts, including Reconstruction, sectional reconciliation, imperialism, progressive reform, labor radicalism, civil rights movements, and social conservatism. And yet the memory of the song''s original role in bloody and divisive Civil War scuttled an attempt to make it the national anthem. The Daughters of the Confederacy held a contest for new lyrics, but admitted that none of the entries measured up to the power of the original."The Battle Hymn" has long helped to express what we mean when we talk about sacrifice, about the importance of fighting--in battles both real and allegorical--for the values America represents. It conjures up and confirms some of our most profound conceptions of national identity and purpose. And yet, as Stauffer and Soskis note, the popularity of the song has not relieved it of the tensions present at its birth--tensions between unity and discord, and between the glories and the perils of righteous enthusiasm. If anything, those tensions became more profound. By following this thread through the tapestry of American history, The Battle Hymn of the Republic illuminates the fractures and contradictions that underlie the story of our nation.

Frederick Douglass’s only work of fiction—an imaginative retelling of the most successful slave revolt in American history—accompanied by an interpretive introduction, notes, and a selection of related writings by Douglass and othersFirst published nearly a decade prior to the Civil War, The Heroic Slave is the only fictional work by abolitionist, orator, author, and social reformer Frederick Douglass, himself a former slave. It is inspired by the true story of Madison Washington, who, along with eighteen others, took control of the slave ship Creole in November 1841 and sailed it to Nassau in the British colony of the Bahamas, where they could live free. This new critical edition, ideal for classroom use, includes the full text of Douglass’s fictional recounting of the most successful slave revolt in American history, as well as an interpretive introduction; excerpts from Douglass’s correspondence, speeches, and editorials; short selections by other writers on the Creole rebellion; and recent criticism on the novella.

New York Times bestselling author Sally Jenkins and distinguished Harvard professor John Stauffer mine a nearly forgotten piece of Civil War history and strike gold in this surprising account of the only Southern county to secede from the Confederacy.The State of Jones is a true story about the South during the Civil War—the real South. Not the South that has been mythologized in novels and movies, but an authentic, hardscrabble place where poor men were forced to fight a rich man’s war for slavery and cotton. In Jones County, Mississippi, a farmer named Newton Knight led his neighbors, white and black alike, in an insurrection against the Confederacy at the height of the Civil War. Knight’s life story mirrors the little-known story of class struggle in the South—and it shatters the image of the Confederacy as a unified front against the Union.This riveting investigative account takes us inside the battle of Corinth, where thousands lost their lives over less than a quarter mile of land, and to the dreadful siege of Vicksburg, presenting a gritty picture of a war in which generals sacrificed thousands through their arrogance and ignorance. Off the battlefield, the Newton Knight story is rich in drama as well. He was a man with two loves: his wife, who was forced to flee her home simply to survive, and an ex-slave named Rachel, who, in effect, became his second wife. It was Rachel who cared for Knight during the war when he was hunted by the Confederates, and, later, when members of the Knight clan sought revenge for the disgrace he had brought upon the family name.Working hand in hand with John Stauffer, distinguished chair and professor of the History of American Civilization at Harvard University, Sally Jenkins has made the leap from preeminent sportswriter to a historical writer endowed with the accuracy, drive, and passion of Doris Kearns Goodwin. The result is Civil War history at its finest.From the Trade Paperback edition.

They were the self-made men of their time. Lincoln was born dirt poor, had less than 1 year of formal schooling and became the nation's greatest President. Douglass spent his first 20 years as a slave, had no formal schooling, couldn't read or write and became 1 of America's greatest writers and activists. At a time when most whites would not let a black man cross their threshold, Lincoln met Douglass 3 times at the White House and invited him to tea at the Soldier's Home. Their friendship was based on usefulness: Lincoln saw that he needed Douglass to help him destroy the Confederacy and preserve the Union; Douglass knew that Lincoln's shrewd sense of public opinion would serve his own goal of freeing the nation's blacks. Lincoln and Douglass moved beyond the traditional idea of character as fixed and based primarily on heredity and social status and embraced a self in a state of continual evolution. Award-winning historian John Stauffer describes the dramatic transformations in the lives of these giants during a major shift in cultural history, when men rejected the status quo and embraced new ideals of personal liberty.

At a time when slavery was spreading and the country was steeped in racism, two white men and two black men overcame social barriers and mistrust to form a unique alliance that sought nothing less than the end of all evil. Drawing on the largest extant bi-racial correspondence in the Civil War era, John Stauffer braids together these men's struggles to reconcile ideals of justice with the reality of slavery and oppression. Who could imagine that Gerrit Smith, one of the richest men in the country, would give away his wealth to the poor and ally himself with Frederick Douglass, an ex-slave? And why would James McCune Smith, the most educated black man in the country, link arms with John Brown, a bankrupt entrepreneur, along with the others? Distinguished by their interracial bonds, they shared a millennialist vision of a new world where everyone was free and equal. As the nation headed toward armed conflict, these men waged their own war by establishing model interracial communities, forming a new political party, and embracing violence. Their revolutionary ethos bridged the divide between the sacred and the profane, black and white, masculine and feminine, and civilization and savagery that had long girded western culture. In so doing, it embraced a malleable and "black-hearted" self that was capable of violent revolt against a slaveholding nation, in order to usher in a kingdom of God on earth. In tracing the rise and fall of their prophetic vision and alliance, Stauffer reveals how radical reform helped propel the nation toward war even as it strove to vanquish slavery and preserve the peace.

When John Brown led twenty-one men in an attack on the federal arsenal at Harpers Ferry on October 16, 1859, he envisioned a biblical uprising of millions of armed bondsmen, thus ridding the nation of the scourge of slavery. The insurrection did not happen, and Brown and the other surviving raiders were quickly captured and executed. This landmark anthology, which collects contemporary speeches, letters, newspaper articles, journals, poems, and songs, demonstrates that Brown’s actions nonetheless altered the course of American history.John Stauffer and Zoe Trodd have assembled an impressive and wide-ranging collection of responses to Brown’s raid: Brown’s own words, northern and southern reactions, international commentary, and reflections from the Civil War and Reconstruction era. Represented here are all the figures one would expect to see (Lincoln, Thoreau, Frederick Douglass), many surprises (John Wilkes Booth, Karl Marx, Giuseppe Garibaldi), as well as free and enslaved blacks and white citizens. The result is a book that views Brown from multiple vantage points.The Introduction describes the panic that Harpers Ferry created in the South, splitting the Democratic Party along sectional lines and altering the outcome of the 1860 presidential election. Without Brown, it speculates, the Civil War and emancipation would have been delayed by another four years—probably more—which in turn might have disrupted emancipation movements in Brazil, Cuba, and even Russia. The Tribunal is essential reading for anyone interested in the Civil War era and the history of social protest movements.

Frederick Douglass’s fiery speeches made him one of the most renowned and popular agitators of his age. Now, as a result of ground-breaking research, we can reclaim the ex-slave and abolitionist as a pioneer in photography, both as a subject and as a theorist. Included here are 160 photographs of Douglass—many which have never been publicly seen—combined with previously unpublished writings and speeches on visual aesthetics. The result transforms our understanding of photography and its place in the life and legacy of Douglass.

A new collection of the seminal writings and speeches of a legendary writer, orator, and civil rights leader   This compact volume offers a full course on the remarkable, diverse career of Frederick Douglass, letting us hear once more a necessary historical figure whose guiding voice is needed now as urgently as ever. Edited by renowned scholar Henry Louis Gates, Jr., and Pulitzer Prize–nominated historian John Stauffer, The Portable Frederick Douglass includes the full range of Douglass’s works: the complete Narrative of the Life of Frederick Douglass, as well as extracts from My Bondage and My Freedom and Life and Times of Frederick Douglass; The Heroic Slave, one of the first works of African American fiction; the brilliant speeches that launched his political career and that constitute the greatest oratory of the Civil War era; and his journalism, which ranges from cultural and political critique (including his early support for women’s equality) to law, history, philosophy, literature, art, and international affairs, including a never-before-published essay on Haitian revolutionary Toussaint L’Ouverture.   The Portable Frederick Douglass is the latest addition in a series of African American classics curated by Henry Louis Gates, Jr. First published in 2008, the series reflects a selection of great works of fiction, nonfiction, and poetry by African and African American authors introduced and annotated by leading scholars and acclaimed writers in new or updated editions for Penguin Classics. In his series essay, “What Is an African American Classic?” Gates provides a broader view of the canon of classics of African American literature available from Penguin Classics and beyond. Gates writes, “These texts reveal the human universal through the African American particular: all true art, all classics do this; this is what ‘art’ is, a revelation of that which makes each of us sublimely human, rendered in the minute details of the actions and thoughts and feelings of a compelling character embedded in a time and place.”   For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 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.

A collective effort to present a new kind of moral history, this volume seeks to show how the study of the past can illuminate profound ethical and philosophical issues. More specifically, the contributors address a variety of questions raised by the history of American slavery. How did freedom - personal, civic, and political - become one of the most cherished values in the Western world? How has the language of slavery been applied to other instances of exploitation and depersonalization? To what extent is America's high homicide rate a legacy of slavery? Did the abolitionist movement's tendency to view slavery as a product of sin, rather than as a structural and economic problem, accelerate or impede emancipation? Divided into four parts, with introductions to each section by editors Steven Mintz and John Stauffer, the essays provide succinct guides to the evolution of American slavery, the origins of anti-slavery thought, the challenges of emancipation, and the post-emancipation legacy of slavery. They also offer fresh perspectives on key individuals, from Benjamin Franklin and Frederick Douglass to Harriet Jacobs and John Brown, and shed new light on the differences between female and male critiques of slavery, the defense of slavery by the South's intellectual elite, and Catholic attitudes toward slavery and abolition. Above all, ""The Problem of Evil"" helps us understand the circumstances that allow social evils to happen, how intelligent and ostensibly moral people can participate in the most horrendous crimes, and how, at certain historical moments, some individuals are able to rise above their circumstances, address evil in fundamental ways, and expand our moral consciousness. In addition to the editors, contributors include Edward Balleisen, Ira Berlin, Iver Bernstein, Robert A. Bonner, Leslie Butler, Catherine Clinton, Ellen Dwyer, David Eltis, Stanley Engerman, Michael Fellman, Paul Finkelman, Richard Wightman Fox, Jonathan Glickstein, Peter Hinks, Jack M. Holl, Paula Kane, Margaret Kellow, William Casey King, Laura Mitchell, Orlando Patterson, Randolph Roth, Sharon Hartman Strom, and David Waldstreicher.

The first volume in a landmark story collection that redefines what we thought we knew about the great American literary form A diverse, unprecedented gathering of more than one hundred stories, representing work by fifty different writersAs much a nineteenth-century American invention as the cotton gin and the steamboat, the short story emerged here with a range of innovation and a variety of styles and subjects that has still not been fully appreciated. Diverse, wide-ranging, and unprecedented in its scope, The American Short Story: The Nineteenth Century gathers more than one hundred stories by fifty different writers. This first volume of Library of America’s two-volume collection of nineteenth-century American short fiction tracks the development of the American short story from Charles Brockden Brown’s fragments and Washington Irving’s sketches to Poe’s gothic tales of horror to Mark Twain’s humorous stories. Represented here by generous selections are all the major figures—Irving, Poe, Hawthorne, Melville, and Twain—as well as Rose Terry Cooke, also a major writer, restored to a place of prominence in this anthology with three unforgettable masterpieces.  Among the many unexpected writers in this volume are: William Austin, so crucial to the development of Hawthorne and Poe; the antebellum Black writer and physician James McCune Smith, whose sketches in his “Heads of the Colored People” series lampooned the pseudoscientific racism of phrenology ; Lucretia Hale, the author of the feminist fantasy “The Queen of the Red Chessman,” perhaps the greatest one-hit wonder of the mid-nineteenth century; Francis Parkman, whose early magazine fiction remains unknown today even to many scholars; and Fitz-James O’Brien, the author of such unnerving horror stories as “The Lost Room” and “What Was It?,” whose true themes and concerns twenty-first century readers, accustomed to reading gay fiction, will not miss. Unrivaled in its range and textual authority, the anthology includes biographies of each writer, a chronology of writers and the American short story from 1800 to 1900, and extensive notes.

The second volume in a landmark story collection that redefines what we thought we knew about the great American literary formA diverse, unprecedented gathering of more than one hundred stories, representing work by fifty different writersAs much a nineteenth-century American invention as the cotton gin and the steamboat, the short story emerged here with a range of innovation and a variety of styles and subjects that has still not been fully appreciated. Diverse, wide-ranging, and unprecedented in its scope, The American Short Story: The Nineteenth Century gathers more than one hundred stories by fifty different writers. This second volume of The Library of America’s two-volume anthology of nineteenth-century American short fiction follows the evolution of American short story from Bret Harte’s mid-century tales of the Gold Rush frontier to Alice Dunbar-Nelson’s “The Stones of the Village,” a story about racial passing written around 1900 but not published in the author’s lifetime.Henry James, generously represented in this volume, dominates the second half of the century, though also represeanted here are the accomplishments of the so-called local-color writers associated with the post–Civil War period. The indelible stories of Sarah Orne Jewett and Kate Chopin are justly celebrated examples of this strain, and those writers are represented by several stories, but ample space is also given here to stories by Constance Fenimore Woolson and Mary Wilkins Freeman.  The reader will also discover the short fiction of Stephen Crane, in whose work naturalism finds its perfect aesthetic and philosophical expressionas well as the indispensable stories of such Black writers as Charles W. Chesnutt and Paul Laurence Dunbar.  The unexpected selection of Thomas Nelson Page’s “Marse Chan” provides the context for Chesnutt’s groundbreaking explorations of racial identity and his use of African American speech and folklore. Other surprises in this volume include Francis Hopkinson Smith’s minor comic masterpiece “Six House in Squantico,” about a town left behind in the post-bellum South.  Unrivaled in its range and textual authority, the anthology includes biographies of each writer, a chronology of writers and the American short story from 1800 to 1900, and extensive notes.

Commemorating the bicentennial of Frederick Douglass’s birthday and featuring images discovered since its original publication in 2015, this “tour de force” (Library Journal, starred review) reintroduced Frederick Douglass to a twenty-first-century audience. From these pages—which include over 160 photographs of Douglass, as well as his previously unpublished writings and speeches on visual aesthetics—we learn that neither Custer nor Twain, nor even Abraham Lincoln, was the most photographed American of the nineteenth century. Indeed, it was Frederick Douglass, the ex-slave-turned-abolitionist, eloquent orator, and seminal writer, who is canonized here as a leading pioneer in photography and a prescient theorist who believed in the explosive social power of what was then just an emerging art form.Featuring:Contributions from Henry Louis Gates, Jr., and Kenneth B. Morris, Jr. (a direct Douglass descendent)160 separate photographs of Douglass—many of which have never been publicly seen and were long lost to historyA collection of contemporaneous artwork that shows how powerful Douglass’s photographic legacy remains today, over a century after his deathAll Douglass’s previously unpublished writings and speeches on visual aesthetics

Few men in American history have been at once as glorified and maligned as John Brown. From his attack of the federal arsenal at Harper's Ferry, Virginia, in October 1859, as part of a scheme to free the slaves, Brown has been called a saint and sinner, rogue and redeemer, martyr and madman. Brown rebelled against the American government, and he murdered men in Kansas in order to end the murderous institution of slavery. He denounced war, but made war on his government in order to end an existing war for slavery. This anthology, which presents Brown's writing and diverse responses to his life and raid, offers a lens through which to analyze these tensions and contradictions. Extensive introductions to every source offer a close reading of language and provide full historical and biographical background.