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.

Our Nig is a classic of African American Literature that has proven to be an enduring contribution to our understanding of free blacks in the nineteenth century. Originally published in 1859, it was neglected for over a hundred years and is now the subject of renewed scholarly interest. A fascinating fusion of two literary modes of the nineteenth century--the sentimental novel and the slave narrative--Our Nig traces the trials and tribulations of Frado, a mulatto girl who grows up as an indentured servant to a white Massachusetts family. And now, as new scholarship sheds light on the author's life, our appreciation for Our Nig is enhanced. With a new afterword by Barbara A. White.

Addressed to all readers of Our Nig, from professional scholars of African American writing through to a more general readership, this book explores both Our Nig’s key cultural contexts and its historical and literary significance as a narrative. 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. This study explores how, as a result, Our Nig tells a series of disturbing two-stories about America’s constitutional guarantee of ‘freedom’ and the way these relate to Frado’s farm life.

"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.

Moby-Dick's Ishmael and Queequeg share a bed, Janie in Zora Neale Hurston's Their Eyes Were Watching God imagines her tongue in another woman's mouth. And yet for too long there has not been a volume that provides an account of the breadth and depth of queer American literature. This landmark volume provides the first expansive history of this literature from its inception to the present day, offering a narrative of how American literary studies and sexuality studies became deeply entwined and what they can teach each other. It examines how American literature produces and is in turn woven out of sexualities, gender pluralities, trans-ness, erotic subjectivities, and alternative ways of inhabiting bodily morphology. In so doing, the volume aims to do nothing less than revise the ways in which we understand the whole of American literature. It will be an indispensable resource for scholars, graduate students, and undergraduates.

Celebrating the impact of African Americans on U.S. society, culture, and history! Traces African American history through four centuries of profound changes and amazing accomplishments. Walking readers through a rich but often overlooked part of American history, The Handy African American History Answer Book addresses the people, times, and events that influenced and changed African American history. An overview of major biographical figures and history-making events is followed by a deeper look at the development in the arts, entertainment, business, civil rights, music, government, journalism, religion, science, sports, and more. Covering a broad range of the African American experience, showcasing interesting insights and facts, this helpful reference answers 700 commonly-asked questions including ... What is the significance of the Apollo Theater? What were the effects of the Great Depression on black artists? Who were some of America's early free black entrepreneurs? What is the historical role of the barbershop in the African American community? and What was Black Wall Street? What does “40 acres and a mule” mean? What was the Black Arts Movement? Who were the Harlem Hellfighters? Who was the first black saint? Who was called the “Father of Blood Plasma”? What caused African Americans to lose their fidelity to “the Party of Lincoln”? What was the impact of Negro Leagues Baseball on American culture? Blending trivia with historical review in an engaging question-and-answer format, The Handy African American History Answer Book is perfect for browsing and is ideal for history buffs, trivia fans, students and teachers and anyone interested in a better and more thorough understanding of the history of black Americans. With many photos and illustrations this fun, fact-filled tome is richly illustrated. Its helpful bibliography and extensive index add to its usefulness.

The Oxford Handbook of Nineteenth-Century American Literature will offer a cutting-edge assessment of the period's literature, offering readers practical insights and proactive strategies for exploring novels, poems, and other literary creations.

A major new history of the literary traditions, oral and print, of African-descended peoples in the United States.

Created by the publishers of EBONY. During its years of publishing it was the largest ever children-focused publication for African Americans.

As the United States transitioned from a rural nation to an urbanized, industrial giant between the War of 1812 and the early twentieth century, ordinary people struggled over the question of what it meant to be American. As Brian Roberts shows in Blackface Nation, this struggle is especially evident in popular culture and the interplay between two specific strains of music: middle-class folk and blackface minstrelsy. The Hutchinson Family Singers, the Northeast’s most popular middle-class singing group during the mid-nineteenth century, is perhaps the best example of the first strain of music. The group’s songs expressed an American identity rooted in communal values, with lyrics focusing on abolition, women’s rights, and socialism. Blackface minstrelsy, on the other hand, emerged out of an audience-based coalition of Northern business elites, Southern slaveholders, and young, white, working-class men, for whom blackface expressed an identity rooted in individual self-expression, anti-intellectualism, and white superiority. Its performers embodied the love-crime version of racism, in which vast swaths of the white public adored African Americans who fit blackface stereotypes even as they used those stereotypes to rationalize white supremacy. By the early twentieth century, the blackface version of the American identity had become a part of America’s consumer culture while the Hutchinsons’ songs were increasingly regarded as old-fashioned. Blackface Nation elucidates the central irony in America’s musical history: much of the music that has been interpreted as black, authentic, and expressive was invented, performed, and enjoyed by people who believed strongly in white superiority. At the same time, the music often depicted as white, repressed, and boringly bourgeois was often socially and racially inclusive, committed to reform, and devoted to challenging the immoralities at the heart of America’s capitalist order.