Recovers a crucial moment in the history of the intimate yet often contentious relationship between religion and literature.

With seemingly obsessive regularity, American authors, from the mid-nineteenth century to the present, evoke the sermon at culturally loaded moments in their works, deploying the form to underscore the cultural work they imagine their novels or poetry to perform. Examining this longstanding tradition of “literary preaching,” this book draws on literary applications of design theory to provide a nuanced account of American literature's complex, anxious, and persistent engagement with the Protestant sermon. Analyzing literary preaching as a transhistorical form that simultaneously attracts and repels authors, Smalley demonstrates how major US writers–Ralph Waldo Emerson, Walt Whitman, Nathaniel Hawthorne, Rebecca Harding Davis, William Faulkner, Zora Neale Hurston, and Toni Morrison–have subverted the sermon's predominantly religious content in order to reimagine profound moments of reform in a political, cultural, and aesthetic mode. This study elucidates new lines of literary kinship, offers fresh readings of familiar works, and establishes literary preaching as an undertheorized but significant tradition in American literature.

This volume addresses the political contexts in which nineteenth-century American literature was conceived, consumed, and criticized. It shows how a variety of literary genres and forms, such as poetry, drama, fiction, oratory, and nonfiction, engaged with political questions and participated in political debate.

"A history of the early American novel, focusing on its origins in and relationship with American religion"-- Provided by publisher.

“Witham’s highly readable history of the American sermon strongly bolsters the contention that words change minds and alter the course of events.” —Booklist Pivotal moments in U.S. history are indelibly marked by the sermons of the nation’s greatest orators. From colonial times to the present, the sermon has motivated Americans to fight wars as well as fight for peace. Sermons have provoked the mob mentality of witch hunts and blacklists, but they have also stirred activists in the women’s and civil rights movements. A City Upon a Hill tells the story of these powerful words and how they shaped the destiny of a nation. A City Upon a Hill includes the story of Robert Hunt, the first preacher to brave the dangerous sea voyage to Jamestown; Jonathan Mayhew’s “most seditious sermon ever delivered,” which incited Boston’s Stamp Act riots in 1765; early calls for abolition and “Preacher-Captain” Nat Turner’s bloody slave revolt of 1831; Henry Ward Beecher’s sermon at Fort Sumter on the day of Lincoln’s assassination; tent revivalist/prohibitionist Billy Sunday’s “booze sermon”; the challenging words of Martin Luther King Jr., which inspired the civil rights movement; Billy Graham’s moving speeches as “America’s pastor” and spiritual advisor to multiple U.S. presidents; and Jerry Falwell’s legacy of changing the way America does politics. A City Upon a Hill provides a history of the United States as seen through the lens of the preached words—Protestant, Catholic, and Jewish—that inspired independence, constitutional amendments, and military victories, and also stirred our worst prejudices, selfish materialism, and stubborn divisiveness—all in the name of God.

This volume presents a complex portrait of the United States of America grappling with the trials of national adolescence. Topics include (but are not limited to): the dynamics of language and power, the treachery of memory, the lived experience of racial and economic inequality, the aesthetics of Indigeneity, the radical possibilities of disability, the fluidity of gender and sexuality, the depth and culture-making power of literary genre, the history of poetics, the cult of performance, and the hidden costs of foodways. Taken together, the essays offer a vision of a vibrant, contradictory, and conflicted early US Republic resistant to consensus accountings and poised to inform new and better origin stories for the polity to come.

One hundred sermons that display the victorious, although sometimes painful, historical and spiritual pilgrimage of black people in America. A groundbreaking anthology, Preaching with Sacred Fire is a unique and powerful work. It captures the stunning diversity of the cultural and historical legacy of African American preaching more than three hundred years in the making. Each sermon, as editors Martha Simmons and Frank A. Thomas reveal, is a work of art and a lesson in unmatched rhetoric. The journey through this anthology—which includes selections from Jarena Lee, Frederick Douglass, Malcolm X, Martin Luther King Jr., Gardner C. Taylor, Vashti McKenzie, and many others—offers a rare view of the unheralded role of the African American preacher in American history. The collection provides new insights into the underpinnings of the black fight for emancipation and the rise and growth of the Civil Rights and Black Power movements. Sermons from the first decade of the twenty-first century point toward the future of African American preaching. Biographies of the preachers put their work in the cultural and homiletic context of their periods. The preachers of these sermons are men and women from a range of faiths, ancestries, and educational backgrounds. They draw on a vast and luminous landscape of poetic language, using metaphor, rhythm, and imagery to communicate with their congregations. What they all have in common is hope, resilience, and sacred fire. “Even during the most difficult and oppressive times,” Simmons and Thomas write in the preface, “the delivery, creativity, charisma, expressivity, fervor, forcefulness, passion, persuasiveness, poise, power, rhetoric, spirit, style, and vision of black preaching gave and gives hope to a community under siege.” This magnificent work beautifully renders the complexity, spiritual richness, and strength of African American life.

This volume offers a new introduction to the American Renaissance, exploring many of the key themes, genres, and social and cultural contexts that inform the best new scholarship in the field.

As nearly all of its reviewers pointed out, Clotel was an audience-minded performance, an effort to capitalize on the post—Uncle Tom’s Cabin “mania” for abolitionist fiction in Great Britain, where William Wells Brown lived between 1849 and 1854. The novel tells the story of Clotel and Althesa, the fictional daughters of Thomas Jefferson and his mixed-race slave. Like the popular and entertaining public lectures that Brown gave in England and America, Clotel is a series of startling, attention-grabbing narrative “attractions.” Brown creates in this novel a delivery system for these attractions in an effort to draw as many readers as possible toward anti-slavery and anti-racist causes. Rough, studded with caricatures, and intimate with the racism it ironizes, Clotel is still capable of creating a potent mix of discomfort and delight. This edition aims to make it possible to read Clotel in something like its original cultural context. Geoffrey Sanborn’s Introduction discusses Brown’s extensive plagiarism of other authors in composing Clotel, as well as his narrative strategies within the novel itself. Appendices include material on slave auctions, contemporary attractions and amusements, and the topic of plagiarism more broadly.