In this important new anthology, Venetria K. Patton and Maureen Honey bring together a comprehensive selection of texts from the Harlem Renaissance-a key period in the literary and cultural history of the United States. The collection revolutionizes our way of viewing this era, since it redresses the ongoing emphasis on the male writers of this time. Double-Take offers a unique, balanced collection of writers-men and women, gay and straight, familiar and obscure. Arranged by author, rather than by genre, this anthology includes works from major Harlem Renaissance figures as well as often-overlooked essayists, poets, dramatists, and artists. The editors have included works from a wide variety of genres-poetry, short stories, drama, and essays-allowing readers to understand the true interdisciplinary quality of this cultural movement. Biographical sketches of the authors are provided and most of the pieces are included in their entirety. Double-Take also includes artwork and illustrations, many of which are from original journals and have never before been reprinted. Significantly, Double-Take is the first Harlem Renaissance title to include song lyrics to illustrate the interrelation of various art forms.

Traces the connection between slavery and the way in which black women fiction writers depict female characters and address gender issues, particularly maternity.2000 CHOICE Outstanding Academic Title Using writers such as Harriet Wilson, Frances E. W. Harper, Pauline Hopkins, Toni Morrison, Sherley Anne Williams, and Gayl Jones, the author highlights recurring themes and the various responses of black women writers to the issues of race and gender. Time and again these writers link slavery with motherhood-their depictions of black womanhood are tied to the effects of slavery and represented through the black mother. Patton shows that both the image others have of black women as well as black women's own self image is framed and influenced by the history of slavery. This history would have us believe that female slaves were mere breeders and not mothers. However, Patton uses the mother figure as a tool to create an intriguing interdisciplinary literary analysis.

Traces the connection between slavery and the way in which black women fiction writers depict female characters and address gender issues, particularly maternity.2000 CHOICE Outstanding Academic Title Using writers such as Harriet Wilson, Frances E. W. Harper, Pauline Hopkins, Toni Morrison, Sherley Anne Williams, and Gayl Jones, the author highlights recurring themes and the various responses of black women writers to the issues of race and gender. Time and again these writers link slavery with motherhood-their depictions of black womanhood are tied to the effects of slavery and represented through the black mother. Patton shows that both the image others have of black women as well as black women's own self image is framed and influenced by the history of slavery. This history would have us believe that female slaves were mere breeders and not mothers. However, Patton uses the mother figure as a tool to create an intriguing interdisciplinary literary analysis.

Explores Black women writers' treatment of the ancestor figure.The Grasp That Reaches beyond the Grave investigates the treatment of the ancestor figure in Toni Cade Bambara's The Salt Eaters, Paule Marshall's Praisesong for the Widow, Phyllis Alesia Perry's Stigmata and A Sunday in June, Toni Morrison's Beloved, Tananarive Due's The Between, and Julie Dash's film, Daughters of the Dust in order to understand how they draw on African cosmology and the interrelationship of ancestors, elders, and children to promote healing within the African American community. Venetria K. Patton suggests that the experience of slavery with its concomitant view of black women as "natally dead" has impacted African American women writers' emphasis on elders and ancestors as they seek means to counteract notions of black women as somehow disconnected from the progeny of their wombs. This misperception is in part addressed via a rich kinship system, which includes the living and the dead. Patton notes an uncanny connection between depictions of elder, ancestor, and child figures in these texts and Kongo cosmology. These references suggest that these works are examples of Africanisms or African retentions, which continue to impact African American culture.

Explores Black women writers' treatment of the ancestor figure.The Grasp That Reaches beyond the Grave investigates the treatment of the ancestor figure in Toni Cade Bambara's The Salt Eaters, Paule Marshall's Praisesong for the Widow, Phyllis Alesia Perry's Stigmata and A Sunday in June, Toni Morrison's Beloved, Tananarive Due's The Between, and Julie Dash's film, Daughters of the Dust in order to understand how they draw on African cosmology and the interrelationship of ancestors, elders, and children to promote healing within the African American community. Venetria K. Patton suggests that the experience of slavery with its concomitant view of black women as "natally dead" has impacted African American women writers' emphasis on elders and ancestors as they seek means to counteract notions of black women as somehow disconnected from the progeny of their wombs. This misperception is in part addressed via a rich kinship system, which includes the living and the dead. Patton notes an uncanny connection between depictions of elder, ancestor, and child figures in these texts and Kongo cosmology. These references suggest that these works are examples of Africanisms or African retentions, which continue to impact African American culture.

In this important new anthology, Venetria K. Patton and Maureen Honey bring together a comprehensive selection of texts from the Harlem Renaissance-a key period in the literary and cultural history of the United States. The collection revolutionizes our way of viewing this era, since it redresses the ongoing emphasis on the male writers of this time. Double-Take offers a unique, balanced collection of writers-men and women, gay and straight, familiar and obscure. Arranged by author, rather than by genre, this anthology includes works from major Harlem Renaissance figures as well as often-overlooked essayists, poets, dramatists, and artists. The editors have included works from a wide variety of genres-poetry, short stories, drama, and essays-allowing readers to understand the true interdisciplinary quality of this cultural movement. Biographical sketches of the authors are provided and most of the pieces are included in their entirety. Double-Take also includes artwork and illustrations, many of which are from original journals and have never before been reprinted. Significantly, Double-Take is the first Harlem Renaissance title to include song lyrics to illustrate the interrelation of various art forms.

Traces the connection between slavery and the way in which black women fiction writers depict female characters and address gender issues, particularly maternity.2000 CHOICE Outstanding Academic Title Using writers such as Harriet Wilson, Frances E. W. Harper, Pauline Hopkins, Toni Morrison, Sherley Anne Williams, and Gayl Jones, the author highlights recurring themes and the various responses of black women writers to the issues of race and gender. Time and again these writers link slavery with motherhood-their depictions of black womanhood are tied to the effects of slavery and represented through the black mother. Patton shows that both the image others have of black women as well as black women's own self image is framed and influenced by the history of slavery. This history would have us believe that female slaves were mere breeders and not mothers. However, Patton uses the mother figure as a tool to create an intriguing interdisciplinary literary analysis.

Traces the connection between slavery and the way in which black women fiction writers depict female characters and address gender issues, particularly maternity.2000 CHOICE Outstanding Academic Title Using writers such as Harriet Wilson, Frances E. W. Harper, Pauline Hopkins, Toni Morrison, Sherley Anne Williams, and Gayl Jones, the author highlights recurring themes and the various responses of black women writers to the issues of race and gender. Time and again these writers link slavery with motherhood-their depictions of black womanhood are tied to the effects of slavery and represented through the black mother. Patton shows that both the image others have of black women as well as black women's own self image is framed and influenced by the history of slavery. This history would have us believe that female slaves were mere breeders and not mothers. However, Patton uses the mother figure as a tool to create an intriguing interdisciplinary literary analysis.

Explores Black women writers' treatment of the ancestor figure.The Grasp That Reaches beyond the Grave investigates the treatment of the ancestor figure in Toni Cade Bambara's The Salt Eaters, Paule Marshall's Praisesong for the Widow, Phyllis Alesia Perry's Stigmata and A Sunday in June, Toni Morrison's Beloved, Tananarive Due's The Between, and Julie Dash's film, Daughters of the Dust in order to understand how they draw on African cosmology and the interrelationship of ancestors, elders, and children to promote healing within the African American community. Venetria K. Patton suggests that the experience of slavery with its concomitant view of black women as "natally dead" has impacted African American women writers' emphasis on elders and ancestors as they seek means to counteract notions of black women as somehow disconnected from the progeny of their wombs. This misperception is in part addressed via a rich kinship system, which includes the living and the dead. Patton notes an uncanny connection between depictions of elder, ancestor, and child figures in these texts and Kongo cosmology. These references suggest that these works are examples of Africanisms or African retentions, which continue to impact African American culture.

Explores Black women writers' treatment of the ancestor figure.The Grasp That Reaches beyond the Grave investigates the treatment of the ancestor figure in Toni Cade Bambara's The Salt Eaters, Paule Marshall's Praisesong for the Widow, Phyllis Alesia Perry's Stigmata and A Sunday in June, Toni Morrison's Beloved, Tananarive Due's The Between, and Julie Dash's film, Daughters of the Dust in order to understand how they draw on African cosmology and the interrelationship of ancestors, elders, and children to promote healing within the African American community. Venetria K. Patton suggests that the experience of slavery with its concomitant view of black women as "natally dead" has impacted African American women writers' emphasis on elders and ancestors as they seek means to counteract notions of black women as somehow disconnected from the progeny of their wombs. This misperception is in part addressed via a rich kinship system, which includes the living and the dead. Patton notes an uncanny connection between depictions of elder, ancestor, and child figures in these texts and Kongo cosmology. These references suggest that these works are examples of Africanisms or African retentions, which continue to impact African American culture.