"Virginia, or the Old Dominion, as her children delight to call her, has always been famed for the style of her living ... Tearing the glittering arms of King George from their sideboards, and casting them, with their costly plate and jewels, as offerings into the lap of the Continental Congress, they introduced in their homes that new style of living in which, discarding all the showy extravagance of the old, and retaining only its inexpensive graces, they succeeded in perfecting that system which, surviving to this day, has ever been noted for its beautiful and elegant simplicity. This system, which combines the thrifty frugality of New England with the less rigid style of Carolina, has been justly pronounced, by the throngs of admirers who have gathered from all quarters of the Union around the generous boards of her illustrious sons, as the very perfection of domestic art." -- Preface.

In the eyes of many white Americans, North and South, the Negro did not have a culture until the Emancipation Proclamation. With few exceptions, serious collecting of Negro folklore by whites did not begin until the Civil War—and it was to be another four decades before black Americans would begin to appreciate their own cultural heritage. Few of the earlier writers realized that they had observed and recorded not simply a manifestation of a particular way of life but also a product peculiarly American and specifically Negro, a synthesis of African and American styles and traditions. The folksongs, speech, beliefs, customs, and tales of the American Negro are discussed in this anthology, originally published in 1967, of thirty-five articles, letters, and reviews from nineteenth-century periodicals. Published between 1838 and 1900 and written by authors who range from ardent abolitionist to dedicated slaveholder, these articles reflect the authors’ knowledge of, and attitudes toward, the Negro and his folklore. From the vast body of material that appeared on this subject during the nineteenth century, editor Bruce Jackson has culled fresh articles that are basic folklore and represent a wide range of material and attitudes. In addition to his introduction to the volume, Jackson has prefaced each article with a commentary. He has also supplied a supplemental bibliography on Negro folklore. If serious collecting of Negro folklore had begun by the middle of the nineteenth century, so had exploitation of its various aspects, particularly Negro songs. By 1850 minstrelsy was a big business. Although Jackson has considered minstrelsy outside the scope of this collection, he has included several discussions of it to suggest some aspects of its peculiar relation to the traditional. The articles in the anthology—some by such well-known figures as Joel Chandler Harris, George Washington Cable, Thomas Wentworth Higginson, John Mason Brown, and Antonin Dvorak—make fascinating reading for an observer of the American scene. This additional insight into the habits of thought and behavior of a culture in transition—folklore recorded in its own context—cannot but afford the thinking reader further understanding of the turbulent race problems of later times and today.

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In 1981, the Commonwealth of Virginia, which had been dominated for decades by “the Organization,” a political machine led by former Governor and U.S. Senator Harry Byrd Sr., took its first baby steps to becoming the vibrant state it is today. That year, Charles Robb rejected the machine and began a new Democratic Party in his campaign for governor. Instead of running against African Americans, Robb reached out to Douglas Wilder, the state’s only African American State Senator and other leaders in the African American Community to rally voters of color to support the Democratic ticket. With the help of a heavy African American turnout, Robb won and the Byrd machine was crushed. In 1985, just four years later, Doug Wilder won the party’s nomination for Lieutenant Governor against the cries of “Virginia isn’t ready” and, later that year, defied the naysayers by being elected to that office. Within five years, he would be sworn in as the first elected African American governor in American history. SON OF VIRGINIA by L. Douglas Wilder details the events of the author’s life to paint a portrait of the changing face of America. It will be a story of constant struggle and conflict, not only Wilder’s struggle, but also that of courageous people who stood up to decades of discrimination, corruption and greed. The book will stand as a road map for continued American progress in our elections and laws and a stark warning of what may happen if we relax our commitment to this program.

Perched on the side of a mountain in the Nevada desert, Virginia City existed for one reason only: to make money. The mining frenzy of the mid-nineteenth century uncovered veins of precious metals that would be expressed in billions today, attracting the enterprising madam Cad Thompson, the charismatic highwayman Nickanora and a plethora of swindlers. Miners, flush with their wages, supported a healthy economy of gambling, drinking and prostitution and even launched a few political careers. Sam Clemens, who became Mark Twain while reporting for the Virginia City Territorial Enterprise, called it "the livest town that America had ever produced." Join author Peter B. Mires as he explores the seamy side of this quintessential mining boomtown.