Considered the first novel by a female African-American, Our Nig was ignored upon first publication in 1859 and lost for more than 100 years. The novel achieved national attention when it was rediscovered and reprinted in 1983. Our Nig tells the story of Frado growing up as an indentured servant in the antebellum northern United States. Like Our Nig number of novels and other works of fiction of the period were in some part based on real-life events, including Fanny Fern's Ruth Hall; Louisa May Alcott's Little Women; or even Hannah Webster Foster's The Coquette.

"I sat up most of the night reading and pondering the enormous significance of Harriet Wilson's Our Nig." — Author Alice Walker This seminal autobiographical novel, originally published in 1859, is believed to have been the first by an African-American woman. Harriet Wilson's compelling story describes the life of a mulatto girl who, after the death of her mother, is exploited first by a terrifying Northern family for whom she worked and then by an opportunistic husband. A classic of African-American literature, Our Nig has made an enduring contribution to understanding the lives of free blacks in the nineteenth century. A fascinating combination of slave narrative and sentimental novel, the story traces the hardships and suffering of Frado, who grows up as an indentured servant to a white family in Massachusetts and spends much of her destitute life wandering through New England. A clear and accurate account of race relations and perceptions of race in the antebellum North, Our Nig is essential reading for students of African-American history and culture.

This volume, with a foreword by Henry Louis Gates, Jr., advances efforts to correct the historical record about the racial complexity and richness characteristic of rural New England s past"

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.

Martin R. Delany’s Blake (1859, 1861–1862) is one of the most important African American—and indeed American—works of fiction of the nineteenth century. It tells the story of Henry Blake’s escape from a southern plantation and his subsequent travels across the United States, into Canada, and to Africa and Cuba. His mission is to unite the black populations of the American Atlantic regions, both free and slave, in the struggle for freedom, whether through insurrection or through emigration and the creation of an independent black state. Blake is a rhetorical masterpiece, all the more strange and mysterious for remaining incomplete, breaking off before its final scene. This edition of Blake, prepared by textual scholar Jerome McGann, offers the first correct printing of the work in book form. It establishes an accurate text, supplies contextual notes and commentaries, and presents an authoritative account of the work’s composition and publication history. In a lively introduction, McGann argues that Delany employs the resources of fiction to develop a critical account of the interconnected structure of racist power as it operated throughout the American Atlantic. He likens Blake to Upton Sinclair’s The Jungle, in its willful determination to transform a living and terrible present. Blake; or, The Huts of America: A Corrected Edition will be used in undergraduate and graduate classes on the history of African American fiction, on the history of the American novel, and on black cultural studies. General readers will welcome as well the first reliable edition of Delany’s fiction.

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.'

Possibly the first novel written by a black woman slave, this work is both a historically important literary event and a gripping autobiographical story in its own right. When her master is betrothed to a woman who conceals a tragic secret, Hannah Crafts, a young slave on a wealthy North Carolina plantation, runs away in a bid for her freedom up North. Pursued by slave hunters, imprisoned by a mysterious and cruel captor, held by sympathetic strangers, and forced to serve a demanding new mistress, she finally makes her way to freedom in New Jersey. Her compelling story provides a fascinating view of American life in the mid-1800s and the literary conventions of the time. Written in the 1850's by a runaway slave, THE BONDSWOMAN'S NARRATIVE is a provocative literary landmark and a significant historical event that will captivate a diverse audience.

Our Nig; or Sketches from the Life of a Free Black (1859) is an autobiographical novel by Harriet E. Wilson. Published anonymously, Our Nig; or Sketches from the Life of a Free Black is considered the first novel by an African American to be published in North America, having been rediscovered by Professor Henry Louis Gates, Jr. in 1981. Based on Wilson’s own experience as a free black forced into indentured servitude in New Hampshire, the novel critiques the racism and indifference of white Northerners and abolitionists who claim to oppose slavery while upholding prejudice and injustice against African Americans. Abandoned by her white mother following the death of her father, a free black man, Frado is raised as an indentured servant on the Bellmont farm. The Bellmonts, a middle-class family, initially believe Frado has been dropped off by her mother for the day, but when Mag fails to appear for several days, they realize the girl has been left in their care. Unwilling to raise her as one of their own, the Bellmonts immediately put her to work in their kitchen. Although she is treated kindly by their son Jack, Frado is frequently beaten by Mrs. Bellmont, who resents having the young mixed-race girl in her house and sees her work as an intrusion on her own housekeeping duties. Suffering under Mrs. Bellmont’s abuses, Frado longs to escape. With a beautifully designed cover and professionally typeset manuscript, this edition of Harriet E. Wilson’s Our Nig; or Sketches from the Life of a Free Black is a classic of African American literature reimagined for modern readers.

nig·gard·ly (adj.) [nig´erd-le] 1. stingy, miserly; not generous 2. begrudging about spending or granting 3. provided in a meanly limited supply If you don’t know the definition of the word, you might assume it to be a derogatory insult, a racial slur. You might be personally offended and deeply outraged. You might write an angry editorial or organize a march. You might even find yourself making national headlines In other words, you’d better know what the word means before you pour your energy into overreacting to it. That’s the jumping-off point for this powerful directive from Pulitzer Prize–winning journalist and bestselling author Karen Hunter. It’s time for the black community to stop marching, quit complaining, roll up their collective sleeves, channel their anger constructively, and start fixing their own problems, she boldly asserts. And while her straight-talking, often politically incorrect narrative is electrifyingly fresh and utterly relevant to today’s hot-button issues surrounding race, Hunter harks back to the wisdom of a respected elder—Nannie Helen Burroughs, who was ahead of her time penning Twelve Things the Negro Must Do for Himself more than a century ago. Burroughs’s guidelines for successful living—from making education, employment, and home ownership one’s priorities to dressing appropriately to practicing faith in everyday life—teach empowerment through self-responsibility, disallowing excuses for one’s standing in life but rather galvanizing blacks to look to themselves for strength, motivation, support, and encouragement. From our urban communities to small-town America, the issues Hunter is bold enough to tackle in Stop Being Niggardly affect us all. Refreshingly candid and challenging, certain to get people everywhere talking, this is the book that takes on race in a new—yet also historically revered and simply stated—way that can change lives, both personally and collectively.

At last a major anthology of New Narrative, the movement fueled by punk, pop, porn, French theory, and social struggle to change writing forever.