Volume 1 contains Washington's Up from Slavery, one of the most widely read American autobiographies, in addition to The Story of My Life and Work, and six other autobiographical writings. Together, the selections provide readers with a first step toward understanding Washington and his immense impact. These writings reveal the moral values he absorbed from his mid-nineteenth-century experiences and teachers. As importantly, they present him to the world as he wished to be seen: as the black version of the American success hero and an exemplar of the Puritan work ethic that he believed to be the secret of his success. These works, along with so much of Washington's writing, served as a model for many black Americans striving to overcome poverty and prejudice.
"BookMarks is a moving and revelatory memoir... a work of fiercely intelligent scholarship." - Susan Larson,
"Erudite and emotional in turns, [BookMarks] is full of truths that appeal to the head and the heart." - Charlotte News Observer"
What are you reading? What books have been important to you? Whether you are interviewing for a job, chatting with a friend or colleague, or making small talk, these questions arise almost unfailingly. Some of us have stock responses, which may or may not be a fiction of our own making. Others gauge their answers according to who is asking the question. Either way, the replies that we give are thoughtfully crafted to suggest the intelligence, worldliness, political agenda, or good humor that we are hoping to convey. We form our answers carefully because we know that our responses say a lot.
But what exactly do our answers say? In BookMarks, Karla FC Holloway explores the public side of reading, and specifically how books and booklists form a public image of African Americans. Revealing her own love of books and her quirky passion for their locations in libraries and on bookshelves, Holloway reflects on the ways that her parents guided her reading when she was young and her bittersweet memories of reading to her children. She takes us on a personal and candid journey that considers the histories of reading in children’s rooms, prison libraries, and “Negro” libraries of the early twentieth century, and that finally reveals how her identity as a scholar, a parent, and an African American woman has been subject to judgments that public cultures make about race and our habits of reading.
Holloway is the first to call our attention to a remarkable trend of many prominent African American writers—including Maya Angelou, W.E.B. Du Bois, Henry Louis Gates, Malcolm X, and Zora Neale Hurston. Their autobiographies and memoirs are consistently marked with booklists—records of their own habits of reading. She examines these lists, along with the trends of selection in Oprah Winfrey’s popular book club, raising the questions: What does it mean for prominent African Americans to associate themselves with European learning and culture? How do books by black authors fare in the inevitable hierarchy of a booklist?
BookMarks provides a unique window into the ways that African Americans negotiate between black and white cultures. This compelling rumination on reading is a book that everyone should add to their personal collections and proudly carry “cover out.”
Cormac McCarthy told an interviewer for the New York Times Magazine that “books are made out of books,” but he was famously unwilling to discuss how his own writing draws on the works of other writers. Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy was well aware of literary tradition and deliberately situating himself in a knowing relationship to precursors.
In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines McCarthy’s literary archive to identify over 150 writers and thinkers that McCarthy referenced in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy’s published works, the unpublished screenplay Whales and Men, and McCarthy’s correspondence. This updated edition now examines McCarthy’s final publications: the novel The Passenger and its play-like coda Stella Maris.
For each work, Crews identifies authors, artists, or other cultural figures that McCarthy referenced; gives the source of the reference in McCarthy’s papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy’s literary influences vastly expands our understanding of how one of America’s foremost authors engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.
Cormac McCarthy told an interviewer for the New York Times Magazine that “books are made out of books,” but he was famously unwilling to discuss how his own writing draws on the works of other writers. Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy was well aware of literary tradition and deliberately situating himself in a knowing relationship to precursors.
In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines McCarthy’s literary archive to identify over 150 writers and thinkers that McCarthy referenced in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy’s published works, the unpublished screenplay Whales and Men, and McCarthy’s correspondence. This updated edition now examines McCarthy’s final publications: the novel The Passenger and its play-like coda Stella Maris.
For each work, Crews identifies authors, artists, or other cultural figures that McCarthy referenced; gives the source of the reference in McCarthy’s papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy’s literary influences vastly expands our understanding of how one of America’s foremost authors engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.
Cormac McCarthy told an interviewer for the New York Times Magazine that “books are made out of books,” but he has been famously unwilling to discuss how his own writing draws on the works of other writers. Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy is well aware of literary tradition, respectful of the canon, and deliberately situating himself in a knowing relationship to precursors.
The Wittliff Collection at Texas State University acquired McCarthy’s literary archive in 2007. In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines the archive to identify nearly 150 writers and thinkers that McCarthy himself references in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy’s published works, the unpublished screenplay Whales and Men, and McCarthy’s correspondence. For each work, Crews identifies the authors, artists, or other cultural figures that McCarthy references; gives the source of the reference in McCarthy’s papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy’s literary influences—impossible to undertake before the opening of the archive—vastly expands our understanding of how one of America’s foremost authors has engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.
“We were trying to change the vision and the conversation about border fears.”
Border Odyssey takes us on a drive toward understanding the U.S./Mexico divide: all 1,969 miles—from Boca Chica to Tijuana—pressing on with the useful fiction of a map.
“We needed to go to the place where countless innocent people had been kicked, cussed, spit on, arrested, detained, trafficked, and killed. It would become clear that the border, la frontera, was more multifaceted and profound than anything we could have invented about it from afar.”
Along the journey, five centuries of cultural history (indigenous, French, Spanish, Mexican, African American, colonist, and U.S.), wars, and legislation unfold. And through observation, conversation, and meditation, Border Odyssey scopes the stories of the people and towns on both sides.
“Stories are the opposite of walls: they demand release, retelling, showing, connecting, each image chipping away at boundaries. Walls are full stops. But stories are like commas, always making possible the next clause.”
Among the terrain traversed: walls and more walls, unexpected roadblocks and patrol officers; a golf course (you could drive a ball across the border); a Civil War battlefield (you could camp there); the southernmost plantation in the United States; a hand-drawn ferry, a road-runner tracked desert, and a breathtaking national park; barbed wire, bridges, and a trucking-trade thoroughfare; ghosts with guns; obscured, unmarked, and unpaved roads; a Catholic priest and his dogs, artwork, icons, and political cartoons; a sheriff and a chain-smoking mayor; a Tex-Mex eatery empty of customers and a B&B shuttering its doors; murder-laden newspaper headlines at breakfast; the kindness of the border-crossing underground; and too many elderly, impoverished, ex-U.S. farmworkers, braceros, lined up to have Thompson take their photograph.
The Texas Centennial of 1936, commemorated by statewide celebrations of independence from Mexico, proved to be a powerful catalyst for the formation of a distinctly Mexican American identity. Confronted by a media frenzy that vilified "Meskins" as the antithesis of Texan liberty, Mexican Americans created literary responses that critiqued these racialized representations while forging a new bilingual, bicultural community within the United States. The development of a modern Tejana identity, controversies surrounding bicultural nationalism, and other conflictual aspects of the transformation from mexicano to Mexican American are explored in this study. Capturing this fascinating aesthetic and political rebirth, Border Renaissance presents innovative readings of important novels by María Elena Zamora O'Shea, Américo Paredes, and Jovita González. In addition, the previously overlooked literary texts by members of the League of United Latin American Citizens (LULAC) are given their first detailed consideration in this compelling work of intellectual and literary history.
Drawing on extensive archival research in the English and Spanish languages, John Morán González revisits the 1930s as a crucial decade for the vibrant Mexican American reclamation of Texas history. Border Renaissance pays tribute to this vital turning point in the Mexican American struggle for civil rights.
Undertakes a wide-ranging examination of the US-Mexico border as it functions in the rhetorical production of civic unity in the United States
A “border” is a powerful and versatile concept, variously invoked as the delineation of geographical territories, as a judicial marker of citizenship, and as an ideological trope for defining inclusion and exclusion. It has implications for both the empowerment and subjugation of any given populace. Both real and imagined, the border separates a zone of physical and symbolic exchange whose geographical, political, economic, and cultural interactions bear profoundly on popular understandings and experiences of citizenship and identity.
The border’s rhetorical significance is nowhere more apparent, nor its effects more concentrated, than on the frontier between the United States and Mexico. Often understood as an unruly boundary in dire need of containment from the ravages of criminals, illegal aliens, and other undesirable threats to the national body, this geopolitical locus exemplifies how normative constructions of “proper”; border relations reinforce definitions of US citizenship, which in turn can lead to anxiety, unrest, and violence centered around the struggle to define what it means to be a member of a national political community.
Throughout much of the twentieth century, Mexican Americans experienced segregation in many areas of public life, but the structure of Mexican segregation differed from the strict racial divides of the Jim Crow South. Factors such as higher socioeconomic status, lighter skin color, and Anglo cultural fluency allowed some Mexican Americans to gain limited access to the Anglo power structure. Paradoxically, however, this partial assimilation made full desegregation more difficult for the rest of the Mexican American community, which continued to experience informal segregation long after federal and state laws officially ended the practice.
In this historical ethnography, Jennifer R. Nájera offers a layered rendering and analysis of Mexican segregation in a South Texas community in the first half of the twentieth century. Using oral histories and local archives, she brings to life Mexican origin peoples’ experiences with segregation. Through their stories and supporting documentary evidence, Nájera shows how the ambiguous racial status of Mexican origin people allowed some of them to be exceptions to the rule of Anglo racial dominance. She demonstrates that while such exceptionality might suggest the permeability of the color line, in fact the selective and limited incorporation of Mexicans into Anglo society actually reinforced segregation by creating an illusion that the community had been integrated and no further changes were needed. Nájera also reveals how the actions of everyday people ultimately challenged racial/racist ideologies and created meaningful spaces for Mexicans in spheres historically dominated by Anglos.
Winner of the 2014 Latina/o Studies Section - LASA Outstanding Book Award
In Borderlands Saints, Desirée A. Martín examines the rise and fall of popular saints and saint-like figures in the borderlands of the United States and Mexico. Focusing specifically on Teresa Urrea (La Santa de Cabora), Pancho Villa, César Chávez, Subcomandante Marcos, and Santa Muerte, she traces the intersections of these figures, their devotees, artistic representations, and dominant institutions with an eye for the ways in which such unofficial saints mirror traditional spiritual practices and serve specific cultural needs.
Popular spirituality of this kind engages the use and exchange of relics, faith healing, pilgrimages, and spirit possession, exemplifying the contradictions between high and popular culture, human and divine, and secular and sacred. Martín focuses upon a wide range of Mexican and Chicano/a cultural works drawn from the nineteenth century to the present, covering such diverse genres as the novel, the communiqué, drama, the essay or crónica, film, and contemporary digital media. She argues that spiritual practice is often represented as narrative, while narrative—whether literary, historical, visual, or oral—may modify or even function as devotional practice.
Each time a child was born in bondage, the system of slavery began anew. Although raised by their parents or by surrogates in the slave community, children were ultimately subject to the rule of their owners. Following the life cycle of a child from birth through youth to young adulthood, Marie Jenkins Schwartz explores the daunting world of slave children, a world governed by the dual authority of parent and owner, each with conflicting agendas.
Despite the constant threats of separation and the necessity of submission to the slaveowner, slave families managed to pass on essential lessons about enduring bondage with human dignity. Schwartz counters the commonly held vision of the paternalistic slaveholder who determines the life and welfare of his passive chattel, showing instead how slaves struggled to give their children a sense of self and belonging that denied the owner complete control.
Born in Bondage gives us an unsurpassed look at what it meant to grow up as a slave in the antebellum South. Schwartz recreates the experiences of these bound but resilient young people as they learned to negotiate between acts of submission and selfhood, between the worlds of commodity and community.
Winner of the Stone Book Award, Museum of African American History
Winner of the Joan Kelly Memorial Prize
Winner of the Littleton-Griswold Prize
Winner of the Mary Nickliss Prize
Winner of the Willie Lee Rose Prize
Americans have long viewed marriage between a white man and a white woman as a sacred union. But marriages between African Americans have seldom been treated with the same reverence. This discriminatory legacy traces back to centuries of slavery, when the overwhelming majority of black married couples were bound in servitude as well as wedlock, but it does not end there. Bound in Wedlock is the first comprehensive history of African American marriage in the nineteenth century. Drawing from plantation records, legal documents, and personal family papers, it reveals the many creative ways enslaved couples found to upend white Christian ideas of marriage.
“A remarkable book… Hunter has harvested stories of human resilience from the cruelest of soils… An impeccably crafted testament to the African-Americans whose ingenuity, steadfast love and hard-nosed determination protected black family life under the most trying of circumstances.”
—Wall Street Journal
“In this brilliantly researched book, Hunter examines the experiences of slave marriages as well as the marriages of free blacks.”
—Vibe
“A groundbreaking history… Illuminates the complex and flexible character of black intimacy and kinship and the precariousness of marriage in the context of racial and economic inequality. It is a brilliant book.”
—Saidiya Hartman, author of Lose Your Mother
In this groundbreaking book, Ken Parille seeks to do for nineteenth-century boys what the past three decades of scholarship have done for girls: show how the complexities of the fiction and educational materials written about them reflect the lives they lived. While most studies of nineteenth-century boyhood have focused on post-Civil War male novelists, Parille explores a broader archive of writings by male and female authors, extending from 1830-1885.
Boys at Home offers a series of arguments about five pedagogical modes: play-adventure, corporal punishment, sympathy, shame, and reading. The first chapter demonstrates that, rather than encouraging boys to escape the bonds of domesticity, scenes of play in boys’ novels reproduce values associated with the home. Chapter 2 argues that debates about corporal punishment are crucial sources for the culture’s ideas about gender difference and pedagogical practice. In chapter 3, “The Medicine of Sympathy,” Parille examines the affective nature of mother-daughter and mother-son bonds, emphasizing the special difficulties that “boy-nature” posed for women. The fourth chapter uses boys’ conduct literature and Louisa May Alcott’s Little Women – the preeminent chronicle of girlhood in the century – to investigate not only Alcott’s fictional representations of shame-centered discipline but also pervasive cultural narratives about what it means to “be a man.” Focusing on works by Lydia Sigourney and Francis Forrester, the final chapter considers arguments about the effects that fictional, historical, and biographical narratives had on a boy’s sense of himself and his masculinity.
Boys at Home is an important contribution to the emerging field of masculinity studies. In addition, this provocative volume brings new insight to the study of childhood, women’s writing, and American culture.
Ken Parille is assistant professor of English at East Carolina University. His articles have appeared in Children’s Literature, Tulsa Studies in Women’s Literature, Papers on Language and Literature, and Children’s Literature Association Quarterly.
A collection of poems about time, solitude, and wisdom that leads readers to hover between acceptance of and alienation from our fragility.
Bread of the Moment, the follow-up to David Sanders' Compass and Clock (Swallow Press, 2016), devotes keen attention to the porous nature of the past and how the unbidden evidence of ordinary life pervades the world, provoking a spectrum of moments from which to draw meaning and find solace. These poems, characterized by a mix of free and formal verse, depict quiet days at home or in nature, as well as close calls and brushes with death: chronic illness, a house fire, a car crushed by a boulder.
In this way, these poems amplify the fragility of the commonplace, a mystery from which we are, amid the noise of our everyday lives, sometimes estranged. Through this exploration, Sanders constructs a precarious balance between alienation and acceptance, striking a note at once recognizable and new.
Texans love the morning meal, whether it’s bacon and eggs (often eaten in a breakfast taco) or something as distinctively nontraditional as saag paneer omelets, pon haus, or goat curry. A Lone Star breakfast can be a time for eating healthy, or for indulging in decadent food and drink. And with Texas’s rich regional and cultural diversity, an amazing variety of dishes graces the state’s breakfast and brunch tables. The first Texas cookbook dedicated exclusively to the morning meal, Breakfast in Texas gathers nearly one hundred recipes that range from perfectly prepared classics to the breakfast foods of our regional cuisines (Southern, Mexican, German, Czech, Indian, and Asian among them) to stand-out dishes from the state’s established and rising chefs and restaurants.
Terry Thompson-Anderson organizes the book into sections that cover breakfast and brunch libations (with and without alcohol); simple, classic, and fancy egg presentations; pancakes, French toast, and waffles; meat lover’s dishes; seafood and shellfish; vegan dishes and sides; and pastries. The recipes reference locally sourced ingredients whenever possible, and Thompson-Anderson provides enjoyable notes about the chefs who created them or the cultural history they represent. She also offers an expert primer on cooking eggs, featuring an encounter with Julia Child, as well as a selection of theme brunches (the boozy brunch, the make-ahead brunch, New Year’s Day brunch, Mother’s Day brunch with seasonal ingredients, teenage daughter’s post-slumber party breakfast, and more). Sandy Wilson’s color photographs of many of the dishes and the chefs and restaurants who serve them provide a lovely visual counterpoint to the appetizing text.
Aubade
Those who lack a talent for love have come
to walk the long Pier 7. Here at the end
of the imagined world are three low-flying gulls
like lies on the surface; the slow red
of a pilot’s boat; the groan
of a fisherman hacking a small shark—
and our speech like the icy water, a poor
translation that will not carry us across.
What brought us west, anyway? A hunger.
But ours is no Donner Party, we who feed
only on scenery, the safest form
of obfuscation: see how the bay is a gray
deepening into gray, the color of heartbreak.
Randall Mann’s Breakfast with Thom Gunn is a work both direct and unsettling. Haunted by the afterlife of Thom Gunn (1929–2004), one of the most beloved gay literary icons of the twentieth century, the poems are moored in Florida and California, but the backdrop is “pitiless,” the trees “thin and bloodless,” the words “like the icy water” of the San Francisco Bay. Mann, fiercely intelligent, open yet elusive, draws on the “graceful erosion” of both landscape and the body, on the beauty that lies in unbeauty. With audacity, anxiety, and unbridled desire, this gifted lyric poet grapples with dilemmas of the gay self embroiled in—and aroused by—a glittering, unforgiving subculture. Breakfast with Thom Gunnis at once formal and free, forging a sublime integrity in the fire of wit, intensity, and betrayal.
Praise for Complaint in the Garden
“We have before us a skillful, witty, passionate young poet. . . . Randall Mann is both attuned to and at odds with the natural world; he articulates the passions and predicaments of a self inside a massive, arousing, but sometimes brutal culture. And he accomplishes these things with buoyant lyric sensibilities and rejuvenating skills.”—Kenyon Review
Style is the material body of lyric poetry, Helen Vendler suggests. To cast off an earlier style is to do an act of violence to the self. Why might a poet do this, adopting a sharply different form? In this exploration of three kinds of break in poetic style, Vendler clarifies the essential connection between style and substance in poetry. Opening fresh perspectives on the work of three very different poets, her masterful study of changes in style yields a new view of the interplay of moral, emotional, and intellectual forces in a poet’s work.
Gerard Manley Hopkins’ invention of sprung rhythm marks a dramatic break with his early style. Rhythm, Vendler shows us, is at the heart of Hopkins’ aesthetic, and sprung rhythm is his symbol for danger, difference, and the shock of the beautiful. In Seamus Heaney’s work, she identifies clear shifts in grammatical “atmosphere” from one poem to the next—from “nounness” to the “betweenness” of an adverbial style—shifts whose moral and political implications come under scrutiny here. And finally Vendler looks at Jorie Graham’s departure from short lines to numbered lines to squared long lines of sentences, marking a move from deliberation to cinematic “freeze-framing to coverage, each with its own meaning in this poet’s career.
Throughout, Vendler reminds us that what distinguishes successful poetry is a mastery of language at all levels—including the rhythmic, the grammatical, and the graphic. A fine study of three poets and a superb exposition of the craft of poetry, The Breaking of Style revives our lapsed sense of what style means.
The Little Rock Central High School integration crisis did not end in1957 when President Eisenhower sent a portion of the first Airborne Division to protect nine black students. The turmoil was entering its second year in 1958 when Arkansas governor Orval Faubus invoked a hastily passed state law to close the high schools rather than obey the federal court orders that would integrate them.
A group of respectable, middle-class white women, faced with the prospect of no schools as well as the further loss of their city’s good name, turned militant. Led by Adolphine Fletcher Terry, a prominent, “old family” civic leader in her seventies, the women quickly put together the Women’s Emergency Committee to Open Our Schools (WEC), a highly effective organization that bombarded the city with ads, fliers, and statements challenging Faubus’s action. At peak membership, the WEC mustered two thousand to their cause. Largely inexperienced in politics when they joined the WEC, these women became articulate, confident promoters of public schools and helped others to understand that those schools must be fully integrated.
Forty years later, Sara Murphy, a key member of the WEC, recounts the rarely told sto1y of these courageous women who formed a resistance movement. With passion and sensitivity, she reconstructs the challenges and triumphs of that battle, which issued from the mutual link Southern white women shared with disfranchised African Americans in their common goal for full citizenship.
The inspirational writings of cultural theorist and social justice activist Gloria Anzaldúa have empowered generations of women and men throughout the world. Charting the multiplicity of Anzaldúa's impact within and beyond academic disciplines, community trenches, and international borders, Bridging presents more than thirty reflections on her work and her life, examining vibrant facets in surprising new ways and inviting readers to engage with these intimate, heartfelt contributions.
Bridging is divided into five sections: The New Mestizas: "transitions and transformations"; Exposing the Wounds: "You gave me permission to fly in the dark"; Border Crossings: Inner Struggles, Outer Change; Bridging Theories: Intellectual Activism with/in Borders; and "Todas somos nos/otras": Toward a "politics of openness." Contributors, who include Norma Elia Cantú, Elisa Facio, Shelley Fisher Fishkin, Aída Hurtado, Andrea Lunsford, Denise Segura, Gloria Steinem, and Mohammad Tamdgidi, represent a broad range of generations, professions, academic disciplines, and national backgrounds. Critically engaging with Anzaldúa's theories and building on her work, they use virtual diaries, transformational theory, poetry, empirical research, autobiographical narrative, and other genres to creatively explore and boldly enact future directions for Anzaldúan studies.
A book whose form and content reflect Anzaldúa's diverse audience, Bridging perpetuates Anzaldúa's spirit through groundbreaking praxis and visionary insights into culture, gender, sexuality, religion, aesthetics, and politics. This is a collection whose span is as broad and dazzling as Anzaldúa herself.
A literary study of three important black women writers, this book examines the "inter-American" characteristics in the work of Marshall, Morrison, and Jones, including detailed discussions of Morrison's Song of Solomon and Tar Baby, Jones's Corregidora and Song of Anninho, and Marshall's The Chose Place, The Timeless People.
Coser defines the inter-American characteristics in these authors' novels as a connection based on a common African heritage and a shared legacy of colonialism and racism. These three authors redefine the boundaries between the Americas, bridging the "extended Caribbean" that stretches from the U.S. Atlantic coast to Brazil. Their work reinterprets ethnic and sexual identity. Issues of race, class, and nationality overlap. History and identity are reinvented.
To explore the collective forms of resistance and cultural processes in Brazil, the Caribbean, and the United States, Coser also makes provocative connections between the visibility of black women writers and the popularity of male Latin American novelists like Carlos Fuentes and Gabriel Garcia Marquéz.
In Brief Landing on the Earth’s Surface, even the most ordinary moments are infused with an awareness of the lost past and a kind of prescience of the future. From one setting to another—Tidewater Virginia, rural Pennsylvania, Greece, New York City—these poems give voice to the human longing for permanence, home, and connection in the face of a constantly changing reality.
Bright Radical Star traces the evolution of frontier Iowa from arguably the most racist free state in the antebellum Union to one of its most outspokenly egalitarian, linking these midwesterners' extraordinary collective behavior with the psychology and sociology of race relations. Diverse personalities from a variety of political cultures—Yankees and New Yorkers, Pennsylvanians and Ohioans, Southerners from Virginia and Maryland and North Carolina, immigrant Irish, Germans, Scandinavians—illuminate this saga, which begins in 1833 with Iowa officially opened to settlement, and continues through 1880, the end of the pioneer era.
Within this half-century, the number of Iowans acknowledging the justice of black civil equality rose dramatically from a handful of obscure village evangelicals to a demonstrated majority of the Hawkeye State's political elite and electorate. How this came about is explained for the first time by Robert Dykstra, whose narrative reflects the latest precepts and methods of social, legal, constitutional, and political history.
Based largely on an exhaustive use of local resources, the book also offers cutting-edge quantitative analysis of Iowa's three great equal rights referendums, one held just before the war, one just after, and one at the close of Reconstruction. The book will appeal to American historians, especially to historians of the frontier, the Civil War era, and African-American history; sociologists and others interested in historical perspectives on race relations in America will find it both stimulating and useful.
Bringing the Shovel Down is a re-imagination of the violent mythologies of state and power.
"These poems speak out of a global consciousness as well as an individual wisdom that is bright with pity, terror, and rage, and which asks the reader to realize that she is not alone--that the grief he carries is not just his own. Gay is a poet of conscience, who echoes Tomas Transtromer's 'We do not surrender. But want peace.'"
--Jean Valentine
"Ross Gay is some kind of brilliant latter-day troubadour whose poetry is shaped not only by yearning but also play and scrutiny, melancholy and intensity. I might be shocked by the bold, persistent love throughout Bringing the Shovel Down if I wasn’t so wooed and transformed by it."
--Terrance Hayes
Broken Brotherhood: The Rise and Fall of the National Afro-American Council gives a comprehensive account of the National Afro-American Council, the first truly nationwide U.S. civil rights organization, which existed from 1898 to 1908. Based on exhaustive research, the volume chronicles the Council’s achievements and its annual meetings and provides portraits of its key leaders.
Led by four of the most notable African American leaders of the time—journalist T. Thomas Fortune, Bishop Alexander Walters, educator Booker T. Washington, and Congressman George Henry White—the Council persevered for a decade despite structural flaws and external pressures that eventually led to its demise in 1908.
Author Benjamin R. Justesen provides historical context for the Council’s development during an era of unprecedented growth in African American organizations. Justesen establishes the National Afro-American Council as the earliest national arena for discussions of critical social and political issues affecting African Americans and the single most important united voice lobbying for protection of the nation’s largest minority. In a period marked by racial segregation, widespread disfranchisement, and lynching violence, the nonpartisan council helped establish two more enduring successor organizations, providing core leadership for both the National Association for the Advancement of Colored People and the National Urban League.
Broken Brotherhood traces the history of the Council and the complicated relationships among key leaders from its creation in Rochester in 1898 to its last gathering in Baltimore in 1907, drawing on both private correspondence and contemporary journalism to create a balanced historical portrait. Enhanced by thirteen illustrations, the volume also provides intriguing details about the ten national gatherings, describes the Council’s unsuccessful attempt to challenge disfranchisement before the U.S. Supreme Court, and sheds light on the gradual breakdown of Republican solidarity among African American leaders in the first decade of the twentieth century.
“This book is a fascinating analysis of race and class in the age of President Bill Clinton. It provides much-needed clarity in regards to the myth of the ‘First Black President.’ It contributes much to our understanding of the history that informs our present moment!”
—Cornel West
As President Barack Obama was sworn into office on January 20, 2009, the United States was abuzz with talk of the first African American president. At this historic moment, one man standing on the inaugural platform, seemingly a relic of the past, had actually been called by the moniker the “first black president” for years.
President William Jefferson Clinton had long enjoyed the support of African Americans during his political career, but the man from Hope also had a complex and tenuous relationship with this faction of his political base. Clinton stood at the nexus of intense political battles between conservatives’ demands for a return to the past and African Americans’ demands for change and fuller equality. He also struggled with the class dynamics dividing the American electorate, especially African Americans. Those with financial means seized newfound opportunities to go to college, enter the professions, pursue entrepreneurial ambitions, and engage in mainstream politics, while those without financial means were essentially left behind. The former became key to Clinton’s political success as he skillfully negotiated the African American class structure while at the same time maintaining the support of white Americans. The results were tremendously positive for some African Americans. For others, the Clinton presidency was devastating.
Brother Bill examines President Clinton’s political relationship with African Americans and illuminates the nuances of race and class at the end of the twentieth century, an era of technological, political, and social upheaval.
The Burroughs-Weston letters trace a fascinating personal and business relationship that evolved as the two men and their wives embarked on joint capital ventures, traveled frequently, and navigated the difficult waters of child-rearing, divorce, and aging. Brother Men includes never-before-published images, annotations, and a critical introduction in which Cohen explores the significance of the sustained, emotional male friendship evident in the letters. Rich with insights related to visual culture and media technologies, consumerism, the history of the family, the history of authorship and readership, and the development of the West, these letters make it clear that Tarzan was only one small part of Edgar Rice Burroughs’s broad engagement with modern culture.
The friendship of Jean Toomer and Waldo Frank was one of the most emotionally intense, racially complicated, and aesthetically significant relationships in the history of American literary modernism. Waldo Frank was an established white writer who advised and assisted the younger African American Jean Toomer as he pursued a literary career. They met in 1920, began corresponding regularly in 1922, and were estranged by the end of 1923, the same year that Toomer published his ambitiously modernist debut novel, Cane.
While individual letters between Frank and Toomer have been published separately on occasion, they have always been presented out of context. This volume presents for the first time their entire correspondence in chronological order, comprising 121 letters ranging from 200 to 800 words each. Kathleen Pfeiffer annotates and introduces the letters, framing the correspondence and explaining the literary and historical allusions in the letters themselves.
Reading like an epistolary novel, Brother Mine captures the sheer emotional force of the story that unfolds in these letters: two men discover an extraordinary friendship, and their intellectual and emotional intimacy takes shape before our eyes. This unprecedented collection preserves the raw honesty of their exchanges, together with the developing drama of their ambition, their disappointments, their assessment of their world, and ultimately, the betrayal that ended the friendship.
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