Narrative of the author's experiences as a slave in St. Louis and elsewhere.

Clotelle; or the Colored Heroine by William Wells Brown (1814 - 1884) was originally printed by the Press of Geo. C Rand and Avery in 1867. This reproduction is reset line-for-line, page-for-page from a copy in the Negro Collection of the Fisk University Library by Jeffrey Young & Associates.

A rocket ride of a thriller—the #1 New York Times bestselling blockbuster by President Bill Clinton and James Patterson, "the dream team" (Lee Child). All Presidents have nightmares. This one is about to come true. Every detail is accurate—because one of the authors is President Bill Clinton. The drama and action never stop—because the other author is James Patterson. Matthew Keating, a one-time Navy SEAL—and a past president—has always defended his family as staunchly as he has his country. Now those defenses are under attack. A madman abducts Keating's teenage daughter, Melanie—turning every parent's deepest fear into a matter of national security. As the world watches in real time, Keating embarks on a one-man special-ops mission that tests his strengths: as a leader, a warrior, and a father. The authors' first collaboration, The President Is Missing, a #1 New York Times bestseller and the #1 bestselling novel of 2018, was praised as "ambitious and wildly readable" (New York Times Book Review) and "a fabulously entertaining thriller" (Pulitzer Prize-winning author Ron Chernow).

Originally published in London in 1857 and never before available in paperback, The Garies and Their Friends is the second novel published by an African American and the first to chronicle the experience of free blacks in the pre-Civil War northeast. The novel anticipates themes that were to become important in later African American fiction, including miscegenation and 'passing, ' and tells the story of the Garies and their friends, the Ellises, a 'highly respectable and industrious coloured family.'

Passing and the Rise of the African American Novel restores to its rightful place a body of American literature that has long been overlooked, dismissed, or misjudged. This insightful reconsideration of nineteenth-century African-American fiction uncovers the literary artistry and ideological complexity of a body of work that laid the foundation for the Harlem Renaissance and changed the course of American letters. Focusing on the trope of passing -- black characters lightskinned enough to pass for white -- M. Giulia Fabi shows how early African-American authors such as William Wells Brown, Frank J. Webb, Charles W. Chesnutt, Sutton E. Griggs, James Weldon Johnson, Frances E. W. Harper, and Edward A. Johnson transformed traditional representations of blackness and moved beyond the tragic mulatto motif. Celebrating a distinctive, African-American history, culture, and worldview, these authors used passing to challenge the myths of racial purity and the color line. Fabi examines how early black writers adapted existing literary forms, including the sentimental romance, the domestic novel, and the utopian novel, to express their convictions and concerns about slavery, segregation, and racism. She also gives a historical overview of the canon-making enterprises of African-American critics from the 1850s to the 1990s and considers how their concerns about crafting a particular image for African-American literature affected their perceptions of nineteenth-century black fiction.

First published in the year 1912, 'The Autobiography of an Ex-Colored Man' by James Weldon Johnson is the fictional account of a young biracial man, referred to as the "Ex-Colored Man", living in post-Reconstruction era America in the late nineteenth and early twentieth centuries.

A well-known nineteenth-century abolitionist and former slave, William Wells Brown was a prolific writer and lecturer who captivated audiences with readings of his drama The Escape; or, a Leap for Freedom (1858). The first published play by an African American writer, The Escape explored the complexities of American culture at a time when tensions between North and South were about to explode into the Civil War. This new volume presents the first-edition text of Brown's play and features an extensive introduction that establishes the work's continuing significance. The Escape centers on the attempted sexual violation of a slave and involves many characters of mixed race, through which Brown commented on such themes as moral decay, white racism, and black self-determination. Rich in action and faithful in dialect, it raises issues relating not only to race but also to gender by including concepts of black and white masculinity and the culture of southern white and enslaved women. It portrays a world in which slavery provided a convenient means of distinguishing between the white North and the white South, allowing northerners to express moral sentiments without recognizing or addressing the racial prejudice pervasive among whites in both regions. John Ernest's introductory essay balances the play's historical and literary contexts, including information on Brown and his career, as well as on slavery, abolitionism, and sectional politics. It also discusses the legends and realities of the Underground Railroad, examines the role of antebellum performance art--including blackface minstrelsy and stage versions of Uncle Tom's Cabin--in the construction of race and national identity, and provides an introduction to theories of identity as performance. A century and a half after its initial appearance, The Escape remains essential reading for students of African American literature. Ernest's keen analysis of this classic play will enrich readers' appreciation of both the drama itself and the era in which it appeared. The Editor: John Ernest is an associate professor of English at the University of New Hampshire and author of Resistance and Reformation in Nineteenth-Century African-American Literature: Brown, Wilson, Jacobs, Delany, Douglass, and Harper.

In 1848 William and Ellen Craft made one of the most daring and remarkable escapes in the history of slavery in America. With fair-skinned Ellen in the guise of a white male planter and William posing as her servant, the Crafts traveled by rail and ship--in plain sight and relative luxury--from bondage in Macon, Georgia, to freedom first in Philadelphia, then Boston, and ultimately England. This edition of their thrilling story is newly typeset from the original 1860 text. Eleven annotated supplementary readings, drawn from a variety of contemporary sources, help to place the Crafts’ story within the complex cultural currents of transatlantic abolitionism.

But after all, it may be said, our fathers were certainly mistaken, for the Bible sanctions Slavery, and that is the highest authority. Now the Bible is my ultimate appeal in all matters of faith and practice, and it is to this test I am anxious to bring the subject at issue between us. Let us then begin with Adam and examine the charter of privileges which was given to him. "Have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moveth upon the earth."