Nearly lost after its anonymous publication in 1926 and only recently rediscovered, When Washington Was in Vogue is an acclaimed love story written and set during the Harlem Renaissance. When bobbed-hair flappers were in vogue and Harlem was hopping, Washington, D.C., did its share of roaring, too. Davy Carr, a veteran of the Great War and a new arrival in the nation's capital, is welcomed into the drawing rooms of the city's Black elite. Through letters, Davy regales an old friend in Harlem with his impressions of race, politics, and the state of Black America as well as his own experiences as an old-fashioned bachelor adrift in a world of alluring modern women -- including sassy, dark-skinned Caroline. With an introduction by Adam McKible and commentary by Emily Bernard, this novel, a timeless love story wonderfully enriched with the drama and style of one of the most hopeful moments in African American history, is as "delightful as it is significant" (Essence).

Nearly lost after its anonymous publication in 1926 and only recently rediscovered, When Washington Was in Vogue is an acclaimed love story written and set during the Harlem Renaissance. When bobbed-hair flappers were in vogue and Harlem was hopping, Washington, D.C., did its share of roaring, too. Davy Carr, a veteran of the Great War and a new arrival in the nation's capital, is welcomed into the drawing rooms of the city's Black elite. Through letters, Davy regales an old friend in Harlem with his impressions of race, politics, and the state of Black America as well as his own experiences as an old-fashioned bachelor adrift in a world of alluring modern women -- including sassy, dark-skinned Caroline. With an introduction by Adam McKible and commentary by Emily Bernard, this novel, a timeless love story wonderfully enriched with the drama and style of one of the most hopeful moments in African American history, is as "delightful as it is significant" (Essence).

"A major study...one that thorougly interweaves the philosophies and fads, the people and movements that combined to give a small segment of Afro America a brief place in the sun."—The New York Times Book Review.

Comedian and star of The Office and Unbreakable Kimmy Schmidt Ellie Kemper delivers a hilarious, refreshing, and inspiring collection of essays “teeming with energy and full of laugh-out-loud moments” (Associated Press). “A pleasure. Ellie Kemper is the kind of stable, intelligent, funny, healthy woman that usually only exists in yogurt commercials. But she’s real and she’s all ours!” —Tina Fey “Ellie is a hilarious and talented writer, although we’ll never know how much of this book the squirrel wrote.”—Mindy Kaling Meet Ellie, the best-intentioned redhead next door. You’ll laugh right alongside her as she shares tales of her childhood in St. Louis, whether directing and also starring in her family holiday pageant, washing her dad’s car with a Brillo pad, failing to become friends with a plump squirrel in her backyard, eating her feelings while watching PG-13 movies, or becoming a “sports monster” who ends up warming the bench of her Division 1 field hockey team in college. You’ll learn how she found her comedic calling in the world of improv, became a wife, mother and New Yorker, and landed the role of a bridesmaid (while simultaneously being a bridesmaid) in Bridesmaids. You’ll get to know and love the comic, upbeat, perpetually polite actress playing Erin Hannon on The Office, and the exuberant, pink-pants-wearing star of Unbreakable Kimmy Schmidt. If you’ve ever been curious about what happens behind the scenes of your favorite shows, what it really takes to be a soul cycle “warrior,” how to recover if you accidentally fall on Doris Kearns Goodwin or tell Tina Fey on meeting her for the first time that she has “great hair—really strong and thick,” this is your chance to find out. But it’s also a laugh-out-loud primer on how to keep a positive outlook in a world gone mad and how not to give up on your dreams. Ellie “dives fully into each role—as actor, comedian, writer, and also wife and new mom—with an electric dedication, by which one learns to reframe the picture, and if not exactly become a glass-half-full sort of person, at least become able to appreciate them” (Vogue.com).

The father of our country slept with Martha, but schlepped in the District. Now in the great man’s footsteps comes humorist and twenty-year Washington resident Christopher Buckley with the real story of the city’s founding. Well, not really. We’re just trying to get you to buy the book. But we can say with justification that there’s never been a more enjoyable, funny, and informative tour guide to the city than Buckley. His delight as he points out things of interest is con-tagious, and his frequent digressions about his own adventures as a White House staffer are often hilarious. In Washington Schlepped Here, Buckley takes us along for several walks around the town and shares with us a bit of his “other” Washington. They include “Dante’s Paradiso” (Union Station); the “Zero Milestone of American democracy” (the U.S. Capitol); the “Almost Pink House” (the White House); and many other historical (and often hysterical) journeys. Buckley is the sort of wonderful guide who pries loose the abalone-like clichés that cling to a place as mythic as D.C. Wonderfully insightful and eminently practical, Washington Schlepped Here shows us that even a city whose chief industry is government bureaucracy is a lot funnier and more surprising than its media-ready image might let on. From the Hardcover edition.

Winner of the Pulitzer Prize Featuring a foreword by Battle Cry of Freedom author James McPherson A vibrant portrait of Civil War-era Washington, D.C. that is “packed and running over with the anecdotes, scandals, personalities, and tragi-comedies of the day”—from the first woman to win the Pulitzer Prize for History (The New Yorker) 1860: The American capital is sprawling, fractured, squalid, colored by patriotism and treason, and deeply divided along the political lines that will soon embroil the nation in bloody conflict. Chaotic and corrupt, the young city is populated by bellicose congressmen, Confederate conspirators, and enterprising prostitutes. Soldiers of a volunteer army swing from the dome of the Capitol, assassins stalk the avenues, and Abraham Lincoln struggles to justify his presidency as the Union heads to war. Reveille in Washington focuses on the everyday politics and preoccupations of Washington during the Civil War. From the stench of corpse-littered streets to the plunging lace on Mary Lincoln’s evening gowns, Margaret Leech illuminates the city and its familiar figures—among them Abraham Lincoln, Jefferson Davis, Robert E. Lee, William Seward, and Mary Surratt—in intimate and fascinating detail. Leech’s book remains widely recognized as both an impressive feat of scholarship and an uncommonly engrossing work of history. “The best single popular account of Washington during the great convulsion of the Civil War.” —The Washington Post

In his introduction to the foundational 1925 text The New Negro, Alain Locke described the “Old Negro” as “a creature of moral debate and historical controversy,” necessitating a metamorphosis into a literary art that embraced modernism and left sentimentalism behind. This was the underlying theoretical background that contributed to the flowering of African American culture and art that would come to be called the Harlem Renaissance. While the popular period has received much scholarly attention, the significance of editors and editing in the Harlem Renaissance remains woefully understudied. Editing the Harlem Renaissance foregrounds an in-depth, exhaustive approach to relevant editing and editorial issues, exploring not only those figures of the Harlem Renaissance who edited in professional capacities, but also those authors who employed editorial practices during the writing process and those texts that have been discovered and/or edited by others in the decades following the Harlem Renaissance. Editing the Harlem Renaissance considers developmental editing, textual self-fashioning, textual editing, documentary editing, and bibliography. Chapters utilize methodologies of authorial intention, copy-text, manuscript transcription, critical edition building, and anthology creation. Together, these chapters provide readers with a new way of viewing the artistic production of one of the United States’ most important literary movements.

This Very Short Introduction offers an overview of the Harlem Renaissance, a cultural awakening among African Americans between the two world wars. Cheryl A. Wall brings readers to the Harlem of 1920s to identify the cultural themes and issues that engaged writers, musicians, and visual artists alike.

This book analyses historical, literary, and cultural shifts in African American literature from the 1920s-1930s.