Margaret Walker Alexander Series in African American Studies – serie

The Souls of White Folk: African American Writers Theorize Whiteness is the first study to consider the substantial body of African American writing that critiques whiteness as social construction and racial identity. Arguing against the prevailing approach to these texts that says African American writers retreated from issues of ""race"" when they wrote about whiteness, Veronica T. Watson instead identifies this body of literature as an African American intellectual and literary tradition that she names ""the literature of white estrangement.""In chapters that theorize white double consciousness (W. E. B. Du Bois and Charles Chesnutt), white womanhood and class identity (Zora Neale Hurston and Frank Yerby), and the socio-spatial subjectivity of southern whites during the civil rights era (Melba Patillo Beals), Watson explores the historically situated theories and analyses of whiteness provided by the literature of white estrangement from the late nineteenth through the mid-twentieth centuries. She argues that these texts are best understood as part of a multipronged approach by African American writers to challenge and dismantle white supremacy in the United States and demonstrates that these texts have an important place in the growing field of critical whiteness studies.

African American Haiku: Cultural Visions offers insights into African American poets’ innovations in the haiku form, shedding light on a neglected aspect of black poetry.Notable scholars present new interpretations of well-known works. Essays trace the verse of five major African American haiku poets: Richard Wright, James Emanuel, Etheridge Knight, Sonia Sanchez, and Lenard D. Moore. Sachi Nakachi investigates the influence of Japanese aesthetics and Eastern philosophy on Richard Wright’s haiku showing Wright’s interest in the blues as poetry. Yoshinobu Hakutani analyzes the vision and affinity of jazz and haiku throughout James Emanuel’s Jazz from the Haiku King. And Claude Wilkinson digs into Etheridge Knight’s improvisation and adherence to tradition of haiku and African American vernacular form. The collection also explores how Sanchez creates a new American hybrid form of the modern haiku in English by blending haiku with her own principles of a black aesthetic. Toru Kiuchi shows how Lenard D. Moore expresses his experiences through haiku with his African American aesthetics and connections to black southern culture.By discussing multiple writers from a variety of disciplines in a single volume, the essayists compare and contrast the work created by writers, poets, and musicians, and illuminate the variety of methods African American authors used when adapting this traditional Japanese form. The result is a volume that offers rich insight into African American aesthetics, the black arts movement, gender issues, blues and jazz, and trends in contemporary poetry.

Raised Up Down Yonder attempts to shift focus away from why black youth are ""problematic"" to explore what their daily lives actually entail. Howell travels to the small community of Hamilton, Alabama, to investigate what it is like for a young black person to grow up in the contemporary rural South.What she finds is that the young people of Hamilton are neither idly passing their time in a stereotypically languid setting nor are they being corrupted by hip-hop culture and the perils of the urban North, as many pundits suggest. Rather, they are dynamic and diverse young people making their way through the structures that define the twenty-first-century South. Told through the poignant stories of several high school students, Raised Up Down Yonder reveals a group that is often rendered invisible in society. Blended families, football sagas, crunk music, expanding social networks, and a nearby segregated prom are just a few of the fascinating juxtapositions.

Hoo-Doo Cowboys and Bronze Buckaroos undertakes an interdisciplinary exploration of the African American West through close readings of texts from a variety of media. This approach allows for both an in-depth analysis of individual texts and a discussion of material often left out or underrepresented in studies focused only on traditional literary material. The book engages heretofore unexamined writing by Rose Gordon, who wrote for local Montana newspapers rather than for a national audience; memoirs and letters of musicians, performers, and singers (such as W. C. Handy and Taylor Gordon), who lived in or wrote about touring the American West; the novels and films of Oscar Micheaux; black-cast westerns starring Herb Jeffries; largely unappreciated and unexamined episodes from the ""golden age of western television"" that feature African American actors; film and television westerns that use science fiction settings to imagine a ""postracial"" or ""postsoul"" frontier; Percival Everett's fiction addressing contemporary black western experience; and movies as recent as Quentin Tarantino's Django Unchained.Despite recent interest in the history of the African American West, we know very little about how the African American past in the West has been depicted in a full range of imaginative forms. Hoo-Doo Cowboys and Bronze Buckaroos advances our discovery of how the African American West has been experienced, imagined, portrayed, and performed.

This Woman's Work presents a social history and critical biography based on the life of award-winning writer Bebe Moore Campbell (1950-2006). It offers the personal story of a popular novelist, journalist, and mental health advocate. This book examines Campbell's life and activism in two periods: first, as a student at the University of Pittsburgh during the 1960s black student movement and, second, as a mental health advocate near the end of her life in 2006. It describes Campbell's activism within the Black Action Society from 1967 to 1971 and her negotiation of the Black Nationalist ideologies espoused during the 1960s. The book also explores Campbell's later involvement in the National Alliance on Mental Illness (NAMI), her role as a national spokesperson, and the local activism that sparked the birth of the NAMI Urban-Los Angeles chapter, which served black and Latino communities (1999-2006).Adjacent to her activist work, Campbell's first novel, Your Blues Ain't Like Mine, connects to her emerging political consciousness (related to race and gender) and the concern for racial violence during the US black liberation period from 1950 to 1970. Similarly Campbell's final novel, 72 Hour Hold, is examined closely for its connection to her activism as well as the sociopolitical commentary, emphasis on mental health disparities, coping with mental illness, and advocacy in black communities. As a writer and activist, Campbell immersed her readers in immediately relevant historical and sociopolitical matters. This Woman's Work is the first full-length biography of Bebe Moore Campbell and details the seamless marriage of her fiction writing and community activism.

Fifty years after Freedom Summer, To Write in the Light of Freedom offers a glimpse into the hearts of the African American youths who attended the Mississippi Freedom Schools in 1964. One of the most successful initiatives of Freedom Summer, more than forty Freedom Schools opened doors to thousands of young African American students. Here they learned civics, politics, and history, curriculum that helped them instead of the degrading lessons supporting segregation and Jim Crow and sanctioned by White Citizen's Councils. Young people enhanced their self-esteem and gained a new outlook on the future. And at more than a dozen of these schools, students wrote, edited, printed and published their own newspapers. For more than five decades, the Mississippi Freedom Schools have served as powerful models of educational activism. Yet, little has been published that documents black Mississippi youths' responses to this profound experience.

Before the innovative work of Zora Neale Hurston, folklorists from the Hampton Institute collected, studied, and wrote about African American folklore. Like Hurston, these folklorists worked within but also beyond the bounds of white mainstream institutions. They often called into question the meaning of the very folklore projects in which they were engaged.Shirley Moody-Turner analyzes this output, along with the contributions of a disparate group of African American authors and scholars. She explores how black authors and folklorists were active participants—rather than passive observers—in conversations about the politics of representing black folklore. Examining literary texts, folklore documents, cultural performances, legal discourse, and political rhetoric, Black Folklore and the Politics of Racial Representation demonstrates how folklore studies became a battleground across which issues of racial identity and difference were asserted and debated at the turn of the twentieth century. The study is framed by two questions of historical and continuing import. What role have representations of black folklore played in constructing racial identity? And, how have those ideas impacted the way African Americans think about and creatively engage black traditions?Moody-Turner renders established historical facts in a new light and context, taking figures we thought we knew—such as Charles Chesnutt, Anna Julia Cooper, and Paul Laurence Dunbar—and recasting their place in African American intellectual and cultural history.

Contributions by Tunde Adeleke, Brian D. Behnken, Minkah Makalani, Benita Roth, Gregory D. Smithers, Simon Wendt, and Danielle L. WigginsBlack intellectualism has been misunderstood by the American public and by scholars for generations. Historically maligned by their peers and by the lay public as inauthentic or illegitimate, black intellectuals have found their work misused, ignored, or discarded. Black intellectuals have also been reductively placed into one or two main categories: they are usually deemed liberal or, less frequently, as conservative. The contributors to this volume explore several prominent intellectuals, from left-leaning leaders such as W. E. B. Du Bois to conservative intellectuals like Thomas Sowell, from well-known black feminists such as Patricia Hill Collins to Marxists like Claudia Jones, to underscore the variety of black intellectual thought in the United States. Contributors also situate the development of the lines of black intellectual thought within the broader history from which these trends emerged. The result gathers essays that offer entry into a host of rich intellectual traditions.

The Mississippi Freedom Vote in 1963 consisted of an integrated citizens' campaign for civil rights. With candidates Aaron Henry, a black pharmacist from Clarksdale for governor, and Reverend Edwin King, a college chaplain from Vicksburg for lieutenant governor, the Freedom Vote ran a platform aimed at obtaining votes, justice, jobs, and education for blacks in the Magnolia State.Through speeches, photographs, media coverage, and campaign materials, William H. Lawson examines the rhetoric and methods of the Mississippi Freedom Vote. Lawson looks at the vote itself rather than the already much-studied events surrounding it, an emphasis new in scholarship. Even though the actual campaign was carried out from October 13 to November 4, the Freedom Vote's impact far transcended those few weeks in the fall. Campaign manager Bob Moses rightly calls the Freedom Vote ""one of the most unique voting campaigns in American history."" Lawson demonstrates that the Freedom Vote remains a key moment in the history of civil rights in Mississippi, one that grew out of a rich tradition of protest and direct action.Though the campaign is overshadowed by other major events in the arc of the civil rights movement, Lawson regards the Mississippi Freedom Vote as an early and crucial exercise of citizenship in a lineage of racial protest during the 1960s. While more attention has been paid to the March on Washington and the protests in Birmingham or to the assassination of John F. Kennedy and the Freedom Summer murders, this book yields a long-overdue, in-depth analysis of this crucial movement.

Some of the best known African American poems are sonnets: Claude McKay's ""If We Must Die,"" Countee Cullen's ""Yet Do I Marvel,"" Gwendolyn Brooks's ""First fight. Then fiddle."" Yet few readers realize that these poems are part of a rich tradition that formed after the Civil War and comprises more than a thousand sonnets by African American poets. Paul Laurence Dunbar, Jean Toomer, Langston Hughes, Margaret Walker, and Rita Dove all wrote sonnets.Based on extensive archival research, The African American Sonnet: A Literary History traces this forgotten tradition from the nineteenth century to the present. Timo Müller uses sonnets to open up fresh perspectives on African American literary history. He examines the struggle over the legacy of the Civil War, the trajectories of Harlem Renaissance protest, the tensions between folk art and transnational perspectives in the thirties, the vernacular modernism of the postwar period, the cultural nationalism of the Black Arts movement, and disruptive strategies of recent experimental poetry.In this book, Müller examines the inventive strategies African American poets devised to occupy and reshape a form overwhelmingly associated with Europe. In the tightly circumscribed space of sonnets, these poets mounted evocative challenges to the discursive and material boundaries they confronted.

The Mississippi Freedom Vote in 1963 consisted of an integrated citizens' campaign for civil rights. With candidates Aaron Henry, a black pharmacist from Clarksdale for governor, and Reverend Edwin King, a college chaplain from Vicksburg for lieutenant governor, the Freedom Vote ran a platform aimed at obtaining votes, justice, jobs, and education for blacks in the Magnolia State.Through speeches, photographs, media coverage, and campaign materials, William H. Lawson examines the rhetoric and methods of the Mississippi Freedom Vote. Lawson looks at the vote itself rather than the already much-studied events surrounding it, an emphasis new in scholarship. Even though the actual campaign was carried out from October 13 to November 4, the Freedom Vote's impact far transcended those few weeks in the fall. Campaign manager Bob Moses rightly calls the Freedom Vote ""one of the most unique voting campaigns in American history."" Lawson demonstrates that the Freedom Vote remains a key moment in the history of civil rights in Mississippi, one that grew out of a rich tradition of protest and direct action.Though the campaign is overshadowed by other major events in the arc of the civil rights movement, Lawson regards the Mississippi Freedom Vote as an early and crucial exercise of citizenship in a lineage of racial protest during the 1960s. While more attention has been paid to the March on Washington and the protests in Birmingham or to the assassination of John F. Kennedy and the Freedom Summer murders, this book yields a long-overdue, in-depth analysis of this crucial movement.

This Woman's Work presents a social history and critical biography based on the life of award-winning writer Bebe Moore Campbell (1950-2006). It offers the personal story of a popular novelist, journalist, and mental health advocate. This book examines Campbell's life and activism in two periods: first, as a student at the University of Pittsburgh during the 1960s black student movement and, second, as a mental health advocate near the end of her life in 2006. It describes Campbell's activism within the Black Action Society from 1967 to 1971 and her negotiation of the Black Nationalist ideologies espoused during the 1960s. The book also explores Campbell's later involvement in the National Alliance on Mental Illness (NAMI), her role as a national spokesperson, and the local activism that sparked the birth of the NAMI Urban-Los Angeles chapter, which served black and Latino communities (1999-2006).Adjacent to her activist work, Campbell's first novel, Your Blues Ain't Like Mine, connects to her emerging political consciousness (related to race and gender) and the concern for racial violence during the US black liberation period from 1950 to 1970. Similarly Campbell's final novel, 72 Hour Hold, is examined closely for its connection to her activism as well as the sociopolitical commentary, emphasis on mental health disparities, coping with mental illness, and advocacy in black communities. As a writer and activist, Campbell immersed her readers in immediately relevant historical and sociopolitical matters. This Woman's Work is the first full-length biography of Bebe Moore Campbell and details the seamless marriage of her fiction writing and community activism.

This book reveals why Aaron Henry (1922-1997) should be acknowledged, in the ranks of Fannie Lou Hamer and Medgar Evers, as a truly influential crusader.Long before many of his contemporaries, he was a civil rights activist, but he preferred to stay out of the limelight. A certified pharmacist and owner of Fourth Street Drug Store in Clarksdale, he considered himself a down-home businessman who must not leave Mississippi. Although he was a key figure in bringing Head Start, housing, employment, and health service to his state, his tact and his quiet diplomacy garnered him less attention than more radical protesters received. He became state president of the NAACP in 1959 and was able, more than any previous leader, to unite Mississippi blacks, despite diversities of age, ideology, and class, in confronting white supremacy. He spearheaded the formation of the Mississippi Freedom Democratic Party and the Council of Federated Organizations (COFO). Some activists criticized him for urging protesters to take the middle ground between the NAACP's conservative position and SNCC's militant activism.Facing recurring death threats, thirty-three jailings, and Klan bombings of his home and drugstore, Henry remained stalwart and courageous. Constance Curry has shaped this personal narrative of a brave and underacknowledged man who helped change his state forever. To his candid story, transcribed from interviews Henry gave two young historians in 1965, Curry adds new material from her own interviews with his family, friends, and political associates. Henry's prophetic voice documents a momentous period in African American history that extends from the Great Depression through the civil rights movement in the pivotal 1960s.

From the 1930s to the 1960s, the Popular Front produced a significant era in African American literary radicalism. While scholars have long associated the black radicalism of the Popular Front with the literary left and the working class, Christin Marie Taylor considers how black radicalism influenced southern fiction about black workers, offering a new view of work and labor.At the height of the New Deal era and its legacies, Taylor examines how southern literature of the Popular Front not only addressed the familiar stakes of race and labor but also called upon an imagined black folk to explore questions of feeling and desire. By poring over tropes of black workers across genres of southern literature in the works of George Wylie Henderson, William Attaway, Eudora Welty, and Sarah Elizabeth Wright, Taylor reveals the broad reach of black radicalism into experiments with portraying human feelings.These writers grounded interrelationships and stoked emotions to present the social issues of their times in deeply human terms. Taylor emphasizes the multidimensional use of the sensual and the sexual, which many protest writers of the period, such as Richard Wright, avoided. She suggests Henderson and company used feeling to touch readers while also questioning and reimagining the political contexts and apparent victories of their times. Taylor shows how these fictions adopted the aesthetics and politics of feeling as a response to New Deal–era policy reforms, both in their successes and their failures. In effect, these writers, some who are not considered a part of an African American protest tradition, illuminated an alternative form of protest through poignant paradigms.

Born in 1893 into the only African American family in White Sulphur Springs, Montana, Emmanuel Taylor Gordon (1893–1971) became an internationally famous singer in the 1920s at the height of the Harlem Renaissance. With his musical partner, J. Rosamond Johnson, Gordon was a crucially important figure in popularizing African American spirituals as an art form, giving many listeners their first experience of black spirituals.Despite his fame, Taylor Gordon has been all but forgotten, until now. Michael K. Johnson illuminates Gordon's personal history and his cultural importance to the legacy of the Harlem Renaissance, arguing that during the height of his celebrity, Gordon was one of the most significant African American male vocalists of his era. Gordon's story—working in the White Sulphur Springs brothels as an errand boy, traveling the country in John Ringling's private railway car, performing on vaudeville stages from New York to Vancouver to Los Angeles, performing for royalty in England, becoming a celebrated author with a best-selling 1929 autobiography, and his long bout of mental illness—adds depth to the history of the Harlem Renaissance and makes him one of the most fascinating figures of the twentieth century. Through detailed documentation of Gordon's career—newspaper articles, reviews, letters, and other archival material—the author demonstrates the scope of Gordon's cultural impact. The result is a detailed account of Taylor's musical education, his career as a vaudeville performer, the remarkable performance history of Johnson and Gordon, his status as an in-demand celebrity singer and author, his time as a radio star, and, finally, his descent into madness. Can't Stand Still brings Taylor Gordon back to the center of the stage.

Born in 1893 into the only African American family in White Sulphur Springs, Montana, Emmanuel Taylor Gordon (1893–1971) became an internationally famous singer in the 1920s at the height of the Harlem Renaissance. With his musical partner, J. Rosamond Johnson, Gordon was a crucially important figure in popularizing African American spirituals as an art form, giving many listeners their first experience of black spirituals.Despite his fame, Taylor Gordon has been all but forgotten, until now. Michael K. Johnson illuminates Gordon's personal history and his cultural importance to the legacy of the Harlem Renaissance, arguing that during the height of his celebrity, Gordon was one of the most significant African American male vocalists of his era. Gordon's story—working in the White Sulphur Springs brothels as an errand boy, traveling the country in John Ringling's private railway car, performing on vaudeville stages from New York to Vancouver to Los Angeles, performing for royalty in England, becoming a celebrated author with a best-selling 1929 autobiography, and his long bout of mental illness—adds depth to the history of the Harlem Renaissance and makes him one of the most fascinating figures of the twentieth century. Through detailed documentation of Gordon's career—newspaper articles, reviews, letters, and other archival material—the author demonstrates the scope of Gordon's cultural impact. The result is a detailed account of Taylor's musical education, his career as a vaudeville performer, the remarkable performance history of Johnson and Gordon, his status as an in-demand celebrity singer and author, his time as a radio star, and, finally, his descent into madness. Can't Stand Still brings Taylor Gordon back to the center of the stage.

From the 1930s to the 1960s, the Popular Front produced a significant era in African American literary radicalism. While scholars have long associated the black radicalism of the Popular Front with the literary left and the working class, Christin Marie Taylor considers how black radicalism influenced southern fiction about black workers, offering a new view of work and labor.At the height of the New Deal era and its legacies, Taylor examines how southern literature of the Popular Front not only addressed the familiar stakes of race and labor but also called upon an imagined black folk to explore questions of feeling and desire. By poring over tropes of black workers across genres of southern literature in the works of George Wylie Henderson, William Attaway, Eudora Welty, and Sarah Elizabeth Wright, Taylor reveals the broad reach of black radicalism into experiments with portraying human feelings.These writers grounded interrelationships and stoked emotions to present the social issues of their times in deeply human terms. Taylor emphasizes the multidimensional use of the sensual and the sexual, which many protest writers of the period, such as Richard Wright, avoided. She suggests Henderson and company used feeling to touch readers while also questioning and reimagining the political contexts and apparent victories of their times. Taylor shows how these fictions adopted the aesthetics and politics of feeling as a response to New Deal–era policy reforms, both in their successes and their failures. In effect, these writers, some who are not considered a part of an African American protest tradition, illuminated an alternative form of protest through poignant paradigms.

Post-Blackness. Post-Soul. Post-Black Art. New Blackness. How has the meaning of blackness changed in the twenty-first century? Cameron Leader-Picone suggests that this proliferation of terms, along with the renewed focus on questioning the relationship between individual black artists and the larger black community, indicates the arrival of novel forms of black identity and black art. Leader-Picone defines these terms as significant facets of a larger post era, linking them with the social and political context of Barack Obama’s presidency. Analyzing claims of progress associated with Obama’s election and post-era thinking, He examines the contours of black aesthetics in the new century.To do so, he sifts through post-era African American fiction, considering both celebrations and rejections of an early twenty-first-century rhetoric of progress. As well, he maps the subsequent implications of these concepts for rearticulating racial identities. Through the works of Colson Whitehead, Alice Randall, Chimamanda Ngozi Adichie, Paul Beatty, Kiese Laymon, and Jesmyn Ward, Leader-Picone tracks how recent fiction manifests the tension between the embrace of post–civil rights era gains and the recognition of persistent structural racism.Ultimately far less triumphal than the prefix post would imply, these authors address the Black Arts Movement and revise double consciousness and other key themes from the African American literary tradition. They interrogate their relevance in an era encompassing not only the election of the nation’s first black president, but also the government’s failed response to Hurricane Katrina, expanding class divisions within the black community, mass incarceration, and ongoing police violence.

Post-Blackness. Post-Soul. Post-Black Art. New Blackness. How has the meaning of blackness changed in the twenty-first century? Cameron Leader-Picone suggests that this proliferation of terms, along with the renewed focus on questioning the relationship between individual black artists and the larger black community, indicates the arrival of novel forms of black identity and black art. Leader-Picone defines these terms as significant facets of a larger post era, linking them with the social and political context of Barack Obama’s presidency. Analyzing claims of progress associated with Obama’s election and post-era thinking, He examines the contours of black aesthetics in the new century.To do so, he sifts through post-era African American fiction, considering both celebrations and rejections of an early twenty-first-century rhetoric of progress. As well, he maps the subsequent implications of these concepts for rearticulating racial identities. Through the works of Colson Whitehead, Alice Randall, Chimamanda Ngozi Adichie, Paul Beatty, Kiese Laymon, and Jesmyn Ward, Leader-Picone tracks how recent fiction manifests the tension between the embrace of post–civil rights era gains and the recognition of persistent structural racism.Ultimately far less triumphal than the prefix post would imply, these authors address the Black Arts Movement and revise double consciousness and other key themes from the African American literary tradition. They interrogate their relevance in an era encompassing not only the election of the nation’s first black president, but also the government’s failed response to Hurricane Katrina, expanding class divisions within the black community, mass incarceration, and ongoing police violence.

Contributions by Tunde Adeleke, Brian D. Behnken, Minkah Makalani, Benita Roth, Gregory D. Smithers, Simon Wendt, and Danielle L. Wiggins. Black intellectualism has been misunderstood by the American public and by scholars for generations. Historically maligned by their peers and by the lay public as inauthentic or illegitimate, black intellectuals have found their work misused, ignored, or discarded. Black intellectuals have also been reductively placed into one or two main categories: they are usually deemed liberal or, less frequently, as conservative. The Contributors to this volume explore several prominent intellectuals, from such left-leaning leaders as W. E. B. Du Bois to conservative intellectuals like Thomas Sowell and from such well-known black feminists as Patricia Hill Collins to Marxists like Claudia Jones, to underscore the variety of black intellectual thought in the United States. Contributors also situate the development of the lines of black intellectual thought within the broader history from which these trends emerged. The result gathers essays that offer entry into a host of rich intellectual traditions.

Contributions by Catherine L. Adams, Stephanie Brown, Gene Andrew Jarrett, John Wharton Lowe, Guirdex Massé, Anderson Rouse, Matthew Teutsch, Donna-lyn Washington, and Veronica T. Watson Rediscovering Frank Yerby: Critical Essays is the first book-length study of Yerby's life and work. The collection explores a myriad of topics, including his connections to the Harlem and Chicago Renaissances; readership and reception; representations of masculinity and patriotism; film adaptations; and engagement with race, identity, and religion. The contributors to this collection work to rectify the misunderstandings of Yerby's work that have relegated him to the sidelines and, ultimately, begin a reexamination of the importance of "the prince of pulpsters" in American literature.It was Robert Bone, in The Negro Novel in America, who infamously dismissed Frank Yerby (1916-1991) as "the prince of pulpsters." Like Bone, many literary critics at the time criticized Yerby's lack of focus on race and the stereotypical treatment of African American characters in his books. This negative labeling continued to stick to Yerby even as he gained critical success, first with The Foxes of Harrow, the first novel by an African American to sell more than a million copies, and later as he began to publish more political works like Speak Now and The Dahomean.However, the literary community cannot continue to ignore Frank Yerby and his impact on American literature. More than a fiction writer, Yerby should be put in conversation with such contemporaneous writers as Richard Wright, Dorothy West, James Baldwin, William Faulkner, Margaret Mitchell, and more.

Contributions by Catherine L. Adams, Stephanie Brown, Gene Andrew Jarrett, John Wharton Lowe, Guirdex Massé, Anderson Rouse, Matthew Teutsch, Donna-lyn Washington, and Veronica T. Watson Rediscovering Frank Yerby: Critical Essays is the first book-length study of Yerby's life and work. The collection explores a myriad of topics, including his connections to the Harlem and Chicago Renaissances; readership and reception; representations of masculinity and patriotism; film adaptations; and engagement with race, identity, and religion. The contributors to this collection work to rectify the misunderstandings of Yerby's work that have relegated him to the sidelines and, ultimately, begin a reexamination of the importance of "the prince of pulpsters" in American literature.It was Robert Bone, in The Negro Novel in America, who infamously dismissed Frank Yerby (1916-1991) as "the prince of pulpsters." Like Bone, many literary critics at the time criticized Yerby's lack of focus on race and the stereotypical treatment of African American characters in his books. This negative labeling continued to stick to Yerby even as he gained critical success, first with The Foxes of Harrow, the first novel by an African American to sell more than a million copies, and later as he began to publish more political works like Speak Now and The Dahomean.However, the literary community cannot continue to ignore Frank Yerby and his impact on American literature. More than a fiction writer, Yerby should be put in conversation with such contemporaneous writers as Richard Wright, Dorothy West, James Baldwin, William Faulkner, Margaret Mitchell, and more.

Some of the best known African American poems are sonnets: Claude McKay's "If We Must Die," Countee Cullen's "Yet Do I Marvel," Gwendolyn Brooks's "First fight. Then fiddle." Yet few readers realize that these poems are part of a rich tradition that formed after the Civil War and comprises more than a thousand sonnets by African American poets. Paul Laurence Dunbar, Jean Toomer, Langston Hughes, Margaret Walker, and Rita Dove all wrote sonnets.Based on extensive archival research, The African American Sonnet: A Literary History traces this forgotten tradition from the nineteenth century to the present. Timo Müller uses sonnets to open up fresh perspectives on African American literary history. He examines the struggle over the legacy of the Civil War, the trajectories of Harlem Renaissance protest, the tensions between folk art and transnational perspectives in the thirties, the vernacular modernism of the postwar period, the cultural nationalism of the Black Arts movement, and disruptive strategies of recent experimental poetry.In this book, Müller examines the inventive strategies African American poets devised to occupy and reshape a form overwhelmingly associated with Europe. In the tightly circumscribed space of sonnets, these poets mounted evocative challenges to the discursive and material boundaries they confronted.

In 1966, a year after the Voting Rights Act began liberating millions of southern blacks, New Yorkers challenged a political system that weakened their voting power. Andrew W. Cooper (1927-2002), a beer company employee, sued state officials in a case called Cooper vs. Power. In 1968, the courts agreed that black citizens were denied the right to elect an authentic representative of their community. The 12th Congressional District was redrawn. Shirley Chisholm, a member of Cooper's political club, ran for the new seat and made history as the first black woman elected to Congress.Cooper became a journalist, a political columnist, then founder of Trans Urban News Service and the City Sun, a feisty Brooklyn-based weekly that published from 1984 to 1996. Whether the stories were about Mayor Koch or Rev. Al Sharpton, Howard Beach or Crown Heights, Tawana Brawley's dubious rape allegations, the Daily News Four trial, or Spike Lee's filmmaking career, Cooper's City Sun commanded attention and moved officials and readers to action.Cooper's leadership also gave Brooklyn - particularly predominantly black central Brooklyn - an identity. It is no accident that in the twenty-first century the borough crackles with energy. Cooper fought tirelessly for the community's vitality when it was virtually abandoned by the civic and business establishments in the mid-to-late twentieth century. In addition, scores of journalists trained by Cooper are keeping his spirit alive.

A disproportionate number of male writers, including such figures as Amiri Baraka, Larry Neal, Maulana Karenga, and Haki Madhubuti, continue to be credited for constructing the iconic and ideological foundations for what would be perpetuated as the Black Art Movement. Though there has arisen an increasing amount of scholarship that recognizes leading women artists, activists, and leaders of this period, these new perspectives have yet to recognize adequately the ways women aspired to far more than a mere dismantling of male-oriented ideals.In Visionary Women Writers of Chicago's Black Arts Movement, Carmen L. Phelps examines the work of several women artists working in Chicago, a key focal point for the energy and production of the movement. Angela Jackson, Johari Amini, and Carolyn Rodgers reflect in their writing specific cultural, local, and regional insights, and demonstrate the capaciousness of Black Art rather than its constraints. Expanding from these three writers, Phelps analyzes the breadth of women's writing in the BAM. In doing so, Phelps argues that these and other women attained advantageous and unique positions to represent the potential of the BAM aesthetic, even if their experiences and artistic perspectives were informed by both social conventions and constraints. In this book, Phelps's examination brings forward a powerful and crucial contribution to the aesthetics and history of a movement that still inspires.

Legal legend Judge Louis F. Oberdorfer once stated that there were ""only two people in the world who really understood the Constitution"" and its impact on American lives. One was Hugo Black, deceased Supreme Court justice. The other was William Benson Bryant Sr. (1911-2005), who in the early 1950s became the first Black assistant US attorney to try cases in Washington, DC’s federal court, and became that same court’s first Black chief judge in 1977. Written by award-winning author Tonya Bolden, this biography presents the story of Bryant’s remarkable, pioneering life in the law—one that began in a segregated DC and included many years as an extraordinary criminal defense attorney, most notably as the dogged defender of Andrew Mallory, a young poor Black man sentenced to the electric chair for the 1954 rape of a white woman. Bryant fought for Mallory’s life all the way to the US Supreme Court, chiefly on the grounds that Mallory’s confession—the most damning evidence against him—was the fruit of an illegal detention. The High Court overturned Mallory’s conviction. Mallory v. United States was among the cases that culminated in the landmark 1966 Miranda rule.Appointed to federal judicial service by Lyndon B. Johnson in 1965, Bryant’s forty-year tenure included cases ranging from overturning a corrupted election of the United Mine Workers and unconstitutional conditions at the DC jail. The biography draws upon an array of documents, newspaper articles, interviews with the judge’s friends, colleagues, and family members, as well as oral histories, including Judge Bryant’s. Bolden beautifully narrates the story of a life of compassion, unparalleled integrity, and unwavering belief in the dignity of every human being.

In Performing Racial Uplift: E. Azalia Hackley and African American Activism in the Postbellum to Pre-Harlem Era, Juanita Karpf rediscovers the career of Black activist E. Azalia Hackley (1867–1922), a concert artist, nationally famous music teacher, and charismatic lecturer. Growing up in Black Detroit, she began touring as a pianist and soprano soloist while only in her teens. By the late 1910s, she had toured coast-to-coast, earning glowing reviews. Her concert repertoire consisted of an innovative blend of spirituals, popular ballads, virtuosic showstoppers, and classical pieces. She also taught music while on tour and visited several hundred Black schools, churches, and communities during her career. She traveled overseas and, in London and Paris, studied singing with William Shakespeare and Jean de Reszke—two of the classical music world’s most renowned teachers. Her acceptance into these famous studios confirmed her extraordinary musicianship, a "first" for an African American singer. She founded the Normal Vocal Institute in Chicago, the first music school founded by a Black performer to offer teacher training to aspiring African American musicians. Hackley’s activist philosophy was unique. Unlike most activists of her era, she did not align herself unequivocally with either Booker T. Washington or W. E. B. Du Bois. Instead, she created her own mediatory philosophical approach. To carry out her agenda, she harnessed such strategies as giving music lessons to large audiences and delivering lectures on the ecumenical religious movement known as New Thought. In this book, Karpf reclaims Hackley's legacy and details the talent, energy, determination, and unprecedented worldview she brought to the cause of racial uplift.

Maria W. Stewart and the Roots of Black Political Thought tells a crucial, almost-forgotten story of African Americans of early nineteenth-century America. In 1833, Maria Stewart (1803–1879) told a gathering at the African Masonic Hall on Boston’s Beacon Hill: "African rights and liberty is a subject that ought to fire the breast of every free man of color in these United States." She exhorted her audience to embrace the idea that the founding principles of the nation must extend to people of color. Otherwise, those truths are merely the hypocritical expression of an ungodly white power, a travesty of original democratic ideals. Like her mentor, David Walker, Stewart illustrated the practical inconsistencies of classical liberalism as enacted in the US and delivered a call to action for ending racism and addressing gender discrimination. Between 1831 and 1833, Stewart’s intellectual productions, as she called them, ranged across topics from true emancipation for African Americans, the Black convention movement, the hypocrisy of white Christianity, Black liberation theology, and gender inequity. Along with Walker’s Appeal to the Coloured Citizens of the World, her body of work constitutes a significant foundation for a moral and political theory that is finding new resonance today—insurrectionist ethics.In this work of recovery, author Kristin Waters examines the roots of Black political activism in the petition movement; Prince Hall and the creation of the first Black masonic lodges; the Black Baptist movement spearheaded by the brothers Thomas, Benjamin, and Nathaniel Paul; writings; sermons; and the practices of festival days, through the story of this remarkable but largely unheralded woman and pioneering public intellectual.

Maria W. Stewart and the Roots of Black Political Thought tells a crucial, almost-forgotten story of African Americans of early nineteenth-century America. In 1833, Maria Stewart (1803–1879) told a gathering at the African Masonic Hall on Boston’s Beacon Hill: "African rights and liberty is a subject that ought to fire the breast of every free man of color in these United States." She exhorted her audience to embrace the idea that the founding principles of the nation must extend to people of color. Otherwise, those truths are merely the hypocritical expression of an ungodly white power, a travesty of original democratic ideals. Like her mentor, David Walker, Stewart illustrated the practical inconsistencies of classical liberalism as enacted in the US and delivered a call to action for ending racism and addressing gender discrimination. Between 1831 and 1833, Stewart’s intellectual productions, as she called them, ranged across topics from true emancipation for African Americans, the Black convention movement, the hypocrisy of white Christianity, Black liberation theology, and gender inequity. Along with Walker’s Appeal to the Coloured Citizens of the World, her body of work constitutes a significant foundation for a moral and political theory that is finding new resonance today—insurrectionist ethics.In this work of recovery, author Kristin Waters examines the roots of Black political activism in the petition movement; Prince Hall and the creation of the first Black masonic lodges; the Black Baptist movement spearheaded by the brothers Thomas, Benjamin, and Nathaniel Paul; writings; sermons; and the practices of festival days, through the story of this remarkable but largely unheralded woman and pioneering public intellectual.