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Evoking the atmosphere of early-nineteenth-century New Orleans and the deadly aftermath of the San Domingo slave revolution, this historical novel begins as its protagonist puzzles over the seemingly prophetic dream of an aged black praline seller in the famous Place d'Armes. Paul Marchand, a free man of color living in New Orleans in the 1820s, is despised by white society for being a quadroon, yet he is a proud, wealthy, well-educated man. In this city where great wealth and great poverty exist side by side, the richest Creole in town lies dying. The family of the aged Pierre Beaurepas eagerly, indeed greedily, awaits disposition of his wealth. As the bombshell of Beaurepas's will explodes, an old woman's dream takes on new meaning, and Marchand is drawn ever more closely into contact with a violently racist family. Bringing to life the entwined racial cultures of New Orleans society, Charles Chesnutt not only writes an exciting tale of adventure and mystery but also makes a provocative comment on the nature of racial identity, self-worth, and family loyalty. Although he was the first African-American writer of fiction to gain acceptance by America's white literary establishment, Charles W. Chesnutt (1858-1932) has been eclipsed in popularity by other writers who later rose to prominence during the Harlem Renaissance. Recently, this pathbreaking American writer has been receiving an increasing amount of attention. Two of his novels, Paul Marchand, F.M.C. (completed in 1921) and The Quarry (completed in 1928), were considered too incendiary to be published during Chesnutt's lifetime. Their publication now provides us not only the opportunity to read these two books previously missing from Chesnutt's oeuvre but also the chance to appreciate better the intellectual progress of this literary pioneer. Chesnutt was the author of many other works, including The Conjure Woman & Other Conjure Tales, The House Behind the Cedars, The Marrow Tradition, and Mandy Oxendine. Princeton University Press recently published To Be an Author: Letters of Charles W. Chesnutt, 1889-1905 (edited by Joseph R. McElrath, Jr., and Robert C. Leitz, III). Originally published in 1999. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Passing in the Works of Charles W. Chesnutt is a collection that reevaluates Chesnutt's deft manipulation of the "passing" theme to expand understanding of the author's fiction and nonfiction. Nine contributors apply a variety of theories---including intertextual, signifying/discourse analysis, narratological, formal, psychoanalytical, new historical, reader response, and performative frameworks---to add richness to readings of Chesnutt's works. Together the essays provide convincing evidence that "passing" is an intricate, essential part of Chesnutt's writing, and that it appears in all the genres he wielded: journal entries, speeches, essays, and short and long fiction. The essays engage with each other to display the continuum in Chesnutt's thinking as he began his writing career and established his sense of social activism, as evidenced in his early journal entries. Collectively, the essays follow Chesnutt's works as he proceeded through the Jim Crow era, honing his ability to manipulate his mostly white audience through the astute, though apparently self-effacing, narrator, Uncle Julius, of his popular conjure tales. Chesnutt's ability to subvert audience expectations is equally noticeable in the subtle irony of his short stories. Several of the collection's essays address Chesnutt's novels, including Paul Marchand, F.M.C., Mandy Oxendine, The House Behind the Cedars, and Evelyn's Husband. The volume opens up new paths of inquiry into a major African American writer's oeuvre.
An examination of race and audience in an American innovator's writings
Charles Chesnutt (1858-1932) was the first African American writer of fiction to win the attention and approval of America's literary establishment. Looking anew at Chesnutt's public and private writings, his fiction and nonfiction, and his well-known and recently rediscovered works, Dean McWilliams explores Chesnutt's distinctive contribution to American culture: how his stories and novels challenge our dominant cultural narratives--particularly their underlying assumptions about race. The published canon of Chesnutt's work has doubled in the last decade: three novels completed but unpublished in Chesnutt's life have appeared, as have scholarly editions of Chesnutt's journals, his letters, and his essays. This book is the first to offer chapter-length analyses of each of Chesnutt's six novels. It also devotes three chapters to his short fiction. Previous critics have read Chesnutt's nonfiction as biographical background for his fiction. McWilliams is the first to analyze these nonfiction texts as complex verbal artifacts embodying many of the same tensions and ambiguities found in Chesnutt's stories and novels. The book includes separate chapters on Chesnutt's journal and on his important essay "The Future American." Moreover, Charles W. Chesnutt and the Fictions of Race approaches Chesnutt's writings from the perspective of recent literary theory. To a greater extent than any previous study of Chesnutt, it explores the way his texts interrogate and deconstruct the language and the intellectual constructs we use to organize reality. The full effect of this new study is to show us how much more of a twentieth-century writer Chesnutt is than has been previously acknowledged. This accomplishment can only hasten his reemergence as one of our most important observers of race in American culture.
A History of the Literature of the U.S. South provides scholars with a dynamic and heterogeneous examination of southern writing from John Smith to Natasha Trethewey. Eschewing a master narrative limited to predictable authors and titles, the anthology adopts a variegated approach that emphasizes the cultural and political tensions crucial to the making of this regional literature. Certain chapters focus on major white writers (e.g., Thomas Jefferson, William Faulkner, the Agrarians, Cormac McCarthy), but a substantial portion of the work foregrounds the achievements of African American writers like Frederick Douglass, Zora Neale Hurston, and Sarah Wright to address the multiracial and transnational dimensions of this literary formation. Theoretically informed and historically aware, the volume's contributors collectively demonstrate how southern literature constitutes an aesthetic, cultural and political field that richly repays examination from a variety of critical perspectives.
"In a series of sketches, regionalist writers such as Alice Cary, Mary E. Wilkins Freeman, Sarah Orne Jewett, Grace King, Alice Dunbar-Nelson, Sui Sin Far, and Mary Austin critique the approach to regional subjects characteristic of local color and present narrators who serve as cultural interpreters for persons often considered "out of place" by urban readers. In their approach to these writers, Fetterley and Pryse offer contemporary readers an alternative vantage point from which to consider questions of regions and regionalism in the global economy of our own time."--Jacket.
Provides an important examination of Charles Chesnutt as a practitioner of realism Although Chesnutt is typically acknowledged as the most prominent African American writer of the realist period, scholars have paid little attention to the central question of this study: what does it mean to call Chesnutt a realist? As a writer whose career was restricted by the dismal racial politics of his era, Chesnutt refused to conform to literary conventions for depicting race. Nor did he use his imaginative skills to evade the realities he and other African Americans faced. Rather, he experimented with ways of portraying reality that could elicit an appropriate, proportionate response to it, as Ryan Simmons demonstrates in extended readings of each of Chesnutt’s novels, including important unpublished works overlooked by previous critics. In addition, Chesnutt and Realism addresses a curiously neglected subject in American literary studies—the relationship between American literary realism and race. By taking Chesnutt seriously as a contributor to realism, this book articulates the strategies by which one African American intellectual helped to define the discourses that influenced his fate.
Telling Narratives analyzes key texts from nineteenth- and early twentieth-century African American literature to demonstrate how secrets and their many tellings have become slavery's legacy. By focusing on the ways secrets are told in texts by Jessie Fauset, Charles W. Chesnutt, Pauline Hopkins, Frederick Douglass, and others, Leslie W. Lewis suggests an alternative model to the feminist dichotomy of "breaking silence" in response to sexual violence. This fascinating study also suggests that masculine bias problematically ignores female experience in order to equate slavery with social death. In calling attention to the sexual behavior of slave masters in African American literature, Lewis highlights its importance to slavery’s legacy and offers a new understanding of the origins of self-consciousness within African American experience.
From the music of Louis Armstrong to the portraits by Beauford Delaney, the writings of Langston Hughes to the debut of the musical Show Boat, the Harlem Renaissance is one of the most significant developments in African-American history in the twentieth century. The Encyclopedia of the Harlem Renaissance, in two-volumes and over 635 entries, is the first comprehensive compilation of information on all aspects of this creative, dynamic period. For a full list of entries, contributors, and more, visit the Encyclopedia of Harlem Renaissance website.
This set treats the whole of American literature, from the European discovery of America to the present, with entries in alphabetical order. Each of the 350 substantive essays is a major interpretive contribution. Well-known critics and scholars provide clear and vividly written essays thatreflect the latest scholarship on a given topic, as well as original thinking on the part of the critic. The Encyclopedia is available in print and as an e-reference text from Oxford's Digital Reference Shelf.At the core of the encyclopedia lie 250 essays on poets, playwrights, essayists, and novelists. The most prominent figures (such as Whitman, Melville, Faulkner, Frost, Morrison, and so forth) are treated at considerable length (10,000 words) by top-flight critics. Less well known figures arediscussed in essays ranging from 2,000 to 5,000 words. Each essay examines the life of the author in the context of his or her times, looking in detail at key works and describing the arc of the writer's career. These essays include an assessment of the writer's current reputation with abibliography of major works by the writer as well as a list of major critical and biographical works about the writer under discussion.A second key element of the project is the critical assessments of major American masterworks, such as Moby-Dick, Song of Myself, Walden, The Great Gatsby, The Waste Land, Their Eyes Were Watching God, Death of a Salesmanr, or Beloved. Each of these essays offers a close reading of the given work,placing that work in its historical context and offering a range of possibilities with regard to critical approach. These fifty essays (ranging from 2,000 to 5,000 words) are simply and clearly enough written that an intelligent high school student should easily understand them, but sophisticatedenough that a college student or general reader in a public library will find the essays both informative and stimulating.The final major element of this encyclopedia consists of fifty-odd essays on literary movements, periods, or themes, pulling together a broad range of information and making interesting connections. These essays treat many of the same authors already discussed, but in a different context; they alsogather into the fold authors who do not have an entire essay on their work (so that Zane Grey, for example, is discussed in an essay on Western literature but does not have an essay to himself). In this way, the project is truly "encyclopedic," in the conventional sense. These essays aim forcomprehensiveness without losing anything of the narrative force that makes them good reading in their own right.In a very real fashion, the literature of the American people reflects their deepest desires, aspirations, fears, and fantasies. The Oxford Encyclopedia of American Literature gathers a wide range of information that illumines the field itself and clarifies many of its particulars.