A Cultural Biography of a "Two-Story" African American Novel
Harriet E. Wilson’s Our Nig (1859) is a startling tale of the mistreatment of a young African American mulatto woman, Frado, living in New England at a time when slavery, though abolished in the North, still existed in the South. Frado, a Northern ‘free black’, yet treated as badly as many Southern slaves of the time, is unforgettably portrayed as experiencing and resisting vicious mistreatment.
To achieve this disturbing portrait, Harriet Wilson’s book combines several different literary genres – realist novel, autobiography, abolitionist slave narrative and sentimental fiction. R.J. Ellis explores the relationship of Our Nig to these genres and, additionally, to laboring class writing (Harriet Wilson was an indentured farm servant). He identifies the way Our Nig stands as a double first: the first separately-published novel written in English by an African American female it is also one of the first by a member of the laboring class about the laboring class. This study explores how, as a result, Our Nig tells a series of disturbing two-stories about America’s constitutional guarantee of ‘freedom’ and the way these relate to Frado’s farm life.
Idioms of Imagining in American Literary Fiction
A. Robert Lee
Literature and Culture across the Line
Edited by Ana María Manzanas
The volume is of interest for scholars and researchers in the field of Border studies, Chicano studies, “Ethnic Studies,” as well as American Literature and Culture
On the Poetics and Politics of Literary Memory
This book is concerned with how literature performs as memory. It sets out to chart systematically the ways in which literature and memory intersect, and offers readings of three seminal Black Atlantic novels. Each reading illustrates a particular poetic strategy of accessing the past and presents a distinct political outlook on memory. Novelists may choose to write back to texts, images or music: Caryl Phillips’s Cambridge brings together numerous fragments of slave narratives, travelogues and histories to shape a brilliant montage of long-forgotten texts. David Dabydeen’s A Harlot’s Progress approaches slavery through the gateway of paintings by William Hogarth, Sir Joshua Reynolds and J.M.W. Turner. Toni Morrison’s Beloved, finally, is steeped in black music, from spirituals and blues to the art of John Coltrane. Beyond differences in poetic strategy, moreover, the novels paradigmatically reveal distinct ideologies: their politics of memory variously promote an encompassing transcultural sense of responsibility, an aestheticist ‘creative amnesia’, and the need to preserve a collective ‘black’ identity.
Yvon van der Pijl and Karina Goulordava
of the Netherlands, accompanied by numerous men and women dressed in costume as Black Pete ( Zwarte Piet ). They are eagerly greeted by thousands of Dutch people, children and adults alike, who have waited impatiently several weeks for their arrival. After the official welcoming event, most Dutch
The AME Church in the Dominican Republic 1899–1916
Christina Cecelia Davidson
In 1916, the African Methodist Episcopal ( AME ) Church—a historically black Church founded in 1816 in the United States—was one of several Protestant denominations growing rapidly in the Dominican Republic as thousands of laborers from the British Caribbean migrated to sugar plantations in
and what was happening “on the ground.” If slaves were to be held publically accountable, they had to be brought to the law’s attention. That did not always happen. And even when it did, courts sometimes ruled on the slaves’ behalf or chose to dismiss the cases against them (Elsa Goveia in Lazarus-Black