This volume, with a foreword by Henry Louis Gates, Jr., advances efforts to correct the historical record about the racial complexity and richness characteristic of rural New England s past"
Considered the first novel by a female African-American, Our Nig was ignored upon first publication in 1859 and lost for more than 100 years. The novel achieved national attention when it was rediscovered and reprinted in 1983. Our Nig tells the story of Frado growing up as an indentured servant in the antebellum northern United States. Like Our Nig number of novels and other works of fiction of the period were in some part based on real-life events, including Fanny Fern's Ruth Hall; Louisa May Alcott's Little Women; or even Hannah Webster Foster's The Coquette.
This volume, with a foreword by Henry Louis Gates, Jr., advances efforts to correct the historical record about the racial complexity and richness characteristic of rural New England's past
After a visit from Vandrone, the master he first encountered in Egypt, Nathan prepares for his third and final journey with his housekeeper and one of his students. The unexpected arrival of old friends at Gladwick Hall leaves him little choice but to invite them to join him in his quest for the sorcerers mask. Nathan books passage on the Barracuda, a unique one-man submarine, captained by a crazy German. The voyage looks to be in peril as the small craft battles on, through treacherous weather and heavy seas, to the most dangerous place on earth - the Island of Two Moons. In hot pursuit, on a ghost ship, are two of his sworn enemies. At the helm is a villainous cutthroat - a demon of revenge who has been summoned from a watery grave.
The essential, “richly researched”* biography of Harriet Tubman, revealing a complex woman who “led a remarkable life, one that her race, her sex, and her origins make all the more extraordinary” (*The New York Times Book Review). Harriet Tubman is one of the giants of American history—a fearless visionary who led scores of her fellow slaves to freedom and battled courageously behind enemy lines during the Civil War. Now, in this magnificent biography, historian Kate Clifford Larson gives us a powerful, intimate, meticulously detailed portrait of Tubman and her times. Drawing from a trove of new documents and sources as well as extensive genealogical data, Larson presents Harriet Tubman as a complete human being—brilliant, shrewd, deeply religious, and passionate in her pursuit of freedom. A true American hero, Tubman was also a woman who loved, suffered, and sacrificed. Praise for Bound for the Promised Land “[Bound for the Promised Land] appropriately reads like fiction, for Tubman’s exploits required such intelligence, physical stamina and pure fearlessness that only a very few would have even contemplated the feats that she actually undertook. . . . Larson captures Tubman’s determination and seeming imperviousness to pain and suffering, coupled with an extraordinary selflessness and caring for others.”—The Seattle Times “Essential for those interested in Tubman and her causes . . . Larson does an especially thorough job of . . . uncovering relevant documents, some of them long hidden by history and neglect.”—The Plain Dealer “Larson has captured Harriet Tubman’s clandestine nature . . . reading Ms. Larson made me wonder if Tubman is not, in fact, the greatest spy this country has ever produced.”—The New York Sun
This book focuses on the mixed-race female slave in literature, arguing that this figure became a symbol for explorations of race and nation - both of which were in crisis in the mid-19th century. It suggests that the figure is a way of understanding the volatile and shifting interface of race and national identity in the antebellum period.
Few people think of a rich Black heritage when they think of New England. In the pioneering book Black Portsmouth, Mark J. Sammons and Valerie Cunningham celebrate it, guiding the reader through more than three centuries of New England and Portsmouth social, political, economic, and cultural history as well as scores of personal and site-specific stories. Here, we meet such Africans as the "likely negro boys and girls from Gambia," who debarked at Portsmouth from a slave ship in 1758, and Prince Whipple, who fought in the American Revolution. We learn about their descendants, including the performer Richard Potter and John Tate of the People’s Baptist Church, who overcame the tragedies and challenges of their ancestors’ enslavement and subsequent marginalization to build communities and families, found institutions, and contribute to their city, region, state, and nation in many capacities. Individual entries speak to broader issues—the anti-slavery movement, American religion, and foodways, for example. We also learn about the extant historical sites important to Black Portsmouth—including the surprise revelation of an African burial ground in October 2003—as well as the extraordinary efforts being made to preserve remnants of the city’s early Black heritage.
Winner, Outstanding Book Award, Association for Theatre in Higher Education Winner, Grace Abbott Best Book Award, Society for the History of Children and Youth Winner, Book Award, Children's Literature Association Winner, Lois P. Rudnick Book Prize, New England American Studies Association Winner, IRSCL Award, International Research Society for Children's Literature Runner-Up, John Hope Franklin Publication Prize, American Studies Association Honorable Mention, Book Award, Society for the Study of American Women Writers Part of the American Literatures Initiative Series In Racial Innocence, Robin Bernstein argues that the concept of "childhood innocence" has been central to U.S. racial formation since the mid-nineteenth century. Children--white ones imbued with innocence, black ones excluded from it, and others of color erased by it--figured pivotally in sharply divergent racial agendas from slavery and abolition to antiblack violence and the early civil rights movement. Bernstein takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which she analyzes as "scriptive things" that invite or prompt historically-located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions from blackface minstrelsy to Uncle Tom's Cabin to The Wonderful Wizard of Oz literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how "innocence" gradually became the exclusive province of white children--until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself. Check out the author's blog for the book here.