Contributions by Catherine L. Adams, Stephanie Brown, Gene Andrew Jarrett, John Wharton Lowe, Guirdex Massé, Anderson Rouse, Matthew Teutsch, Donna-lyn Washington, and Veronica T. Watson Rediscovering Frank Yerby: Critical Essays is the first book-length study of Yerby’s life and work. The collection explores a myriad of topics, including his connections to the Harlem and Chicago Renaissances; readership and reception; representations of masculinity and patriotism; film adaptations; and engagement with race, identity, and religion. The contributors to this collection work to rectify the misunderstandings of Yerby’s work that have relegated him to the sidelines and, ultimately, begin a reexamination of the importance of “the prince of pulpsters” in American literature. It was Robert Bone, in The Negro Novel in America, who infamously dismissed Frank Yerby (1916–1991) as “the prince of pulpsters.” Like Bone, many literary critics at the time criticized Yerby’s lack of focus on race and the stereotypical treatment of African American characters in his books. This negative labeling continued to stick to Yerby even as he gained critical success, first with The Foxes of Harrow, the first novel by an African American to sell more than a million copies, and later as he began to publish more political works like Speak Now and The Dahomean. However, the literary community cannot continue to ignore Frank Yerby and his impact on American literature. More than a fiction writer, Yerby should be put in conversation with such contemporaneous writers as Richard Wright, Dorothy West, James Baldwin, William Faulkner, Margaret Mitchell, and more.

Frank Yerby’s first novel, The Foxes of Harrow, established him as a writer and launched a forty-nine-year career in which he published thirty-three novels. He also became the first African American writer to sell more than a million copies of his work and to have a book adapted into a movie by a Hollywood studio. He garnered legions of loyal fans of his writing. Yet, few know that Yerby began his writing career with the publication of a short story in his school newspaper in 1936, the first of nine stories he would publish in the 1930s and ’40s. Most stories appeared in small journals and magazines and were largely forgotten once he started writing novels. This groundbreaking collection gives readers access to an intriguingly diverse selection of Yerby’s short fiction. The stories collected here, eleven of which have never previously been published, paint a picture of Yerby as an intellectual who thought deeply about several philosophical questions at the center of understanding what it means to be human. The stories also reveal him as an artist committed to exploring a range of human drives, longings, conflicts, and passions, from the quirky to the serious, and in a variety of writing styles. With an attention to historical detail, voice, and character that he became known for, these stories give us new insights into this important African American writer who dared to believe he could earn a living as a writer.

Contributions by Catherine L. Adams, Stephanie Brown, Gene Andrew Jarrett, John Wharton Lowe, Guirdex Massé, Anderson Rouse, Matthew Teutsch, Donna-lyn Washington, and Veronica T. Watson Rediscovering Frank Yerby: Critical Essays is the first book-length study of Yerby’s life and work. The collection explores a myriad of topics, including his connections to the Harlem and Chicago Renaissances; readership and reception; representations of masculinity and patriotism; film adaptations; and engagement with race, identity, and religion. The contributors to this collection work to rectify the misunderstandings of Yerby’s work that have relegated him to the sidelines and, ultimately, begin a reexamination of the importance of “the prince of pulpsters” in American literature. It was Robert Bone, in The Negro Novel in America, who infamously dismissed Frank Yerby (1916–1991) as “the prince of pulpsters.” Like Bone, many literary critics at the time criticized Yerby’s lack of focus on race and the stereotypical treatment of African American characters in his books. This negative labeling continued to stick to Yerby even as he gained critical success, first with The Foxes of Harrow, the first novel by an African American to sell more than a million copies, and later as he began to publish more political works like Speak Now and The Dahomean. However, the literary community cannot continue to ignore Frank Yerby and his impact on American literature. More than a fiction writer, Yerby should be put in conversation with such contemporaneous writers as Richard Wright, Dorothy West, James Baldwin, William Faulkner, Margaret Mitchell, and more.

A young, Cuban-American woman is accepted into an elite college right as her home life unravels.

It's 1927 in the town of Chatterlee, Mississippi, drowned by heavy rains. The Mississippi River is rising, threatening to break open not only the levees, but also the racial and social divisions of this former plantation town. A fiery messenger from the skies heralds the appearance of a being, one that will rip open the tensions in Chatterlee. Savior, or threat? It depends on where you stand. All the while, the waters are still rapidly rising...

This is the story of Marcus: bonded out of jail where he has been awaiting trial for murder, he is sent to the Hebert plantation to work in the fields. There he encounters conflict with the overseer, Sidney Bonbon, and a tale of revenge, lust and power plays out between Marcus, Bonbon, BonBon's mistress Pauline, and BonBon's wife Louise.

Writer Mat Johnson (HELLBLAZER: PAPA MIDNITE), winner of the prestigious Hurston-Wright Legacy Award for fiction, constructs a fearless graphic novel that is both a page-turning mystery and a disturbing exploration of race and self-image in America, masterfully illustrated with rich period detail by Warren Pleece (THE INVISIBLES, HELLBLAZER). In the early 20th Century, when lynchings were commonplace throughout the American South, a few courageous reporters from the North risked their lives to expose these atrocities. They were African-American men who, due to their light skin color, could pass among the white folks. They called this dangerous assignment going incognegro. Zane Pinchback, a reporter for the New York-based New Holland Herald, barely escapes with his life after his latest incognegro story goes bad. But when he returns to the sanctuary of Harlem, hes sent to investigate the arrest of his own brother, charged with the brutal murder of a white woman in Mississippi. With a lynch mob already swarming, Zane must stay incognegro long enough to uncover the truth behind the murder in order to save his brotherand himself. He finds that the answers are buried beneath layers of shifting identities, forbidden passions and secrets that run far deeper than skin color.