This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Memoir of Quamino Buccau: A Pious Methodist The truth which Peter perceived, and of which, it appears, he needed a miracle to convince him, "that God is no respecter of persons," is abundantly confirmed in the observation of those who mark the bountiful conferring of the Divine gift upon persons in the humblest positions of life; and it is profitable to contemplate how "God Hath Chosen the Poor of This World Rich in Faith," if haply we may thus be stimulated to place our affections upon things above. Many of the visitors of the beautiful city of Burlington, in New Jersey, have paused to admire the venerable figure of an aged coloured man, with a luxuriant growth of snowy hair, blind, and supported by two crutches, standing at the door of a lowly tenement in the main street. Not a few have derived spiritual refreshment during their visits to this meek disciple of Him who was "lowly in heart." About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

To Tell A Free Story traces in unprecedented detail the history of Black autobiography from the colonial era through Emancipation. Beginning with the 1760 narrative by Briton Hammond, William L. Andrews explores first-person public writings by Black Americans. Andrews includes but also goes beyond slave narratives to analyze spiritual biographies, criminal confessions, captivity stories, travel accounts, interviews, and memoirs. As he shows, Black writers continuously faced the fact that northern whites often refused to accept their stories and memories as sincere, and especially distrusted portraits of southern whites as inhuman. Black writers had to silence parts of their stories or rely on subversive methods to make facts tellable while contending with the sensibilities of the white editors, publishers, and readers they relied upon and hoped to reach.

The period of 1850-1865 consisted of violent struggle and crisis as the United States underwent the prodigious transition from slaveholding to ostensibly 'free' nation. This volume reframes mid-century African American literature and challenges our current understandings of both African American and American literature. It presents a fluid tradition that includes history, science, politics, economics, space and movement, the visual, and the sonic. Black writing was highly conscious of transnational and international politics, textual circulation, and revolutionary imaginaries. Chapters explore how Black literature was being produced and circulated; how and why it marked its relation to other literary and expressive traditions; what geopolitical imaginaries it facilitated through representation; and what technologies, including print, enabled African Americans to pursue such a complex and ongoing aesthetic and political project.

Manhood Enslaved reconstructs the lives of three male captives to bring greater intellectual and historical clarity to the muted lives of enslaved peoples in eighteenth- and early nineteenth-century central New Jersey, where blacks were held in bondage for nearly two centuries. The book contributes to an evolving body of historical scholarship arguing that the lives of bondpeople in America were shaped not only by the powerful forces of racial oppression, but also by their own notions of gender. The book uses previously understudied, white-authored, nineteenth-century literature about central New Jersey slaves as a point of departure. Reading beyond the racist assumptions of the authors, it contends that the precarious day-to-day existence of the three protagonists -- Yombo Melick, Dick Melick, and Quamino Buccau (Smock) -- provides revealing evidence about the various elements of "slave manhood" that gave real meaning to their oppressed lives. Kenneth E. Marshall is Assistant Professor of History at the State University of New York at Oswego.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.