I am advised by my publishers that this book is to be included in their catalogue of humorous publications, and this friendly warning gives me an opportunity to say that however humorous it may be in effect, its intention is perfectly serious; and, even if it were otherwise, it seems to me that a volume written wholly in dialect must have its solemn, not to say melancholy, features. With respect to the Folk-Lore series, my purpose has been to preserve the legends themselves in their original simplicity, and to wed them permanently to the quaint dialect-if, indeed, it can be called a dialect-through the medium of which they have become a part of the domestic history of every Southern family; and I have endeavored to give to the whole a genuine flavor of the old plantation...

Drafts, autograph manuscript, corrected, of the introduction and chapters 37 and 39 through 71.

"Harris's literary output during the period in which these letters were written was considerable. He produced thirteen books during the 1890s and contributed numerous short stories, essays, and articles to Scribner's and other national magazines; he was also deriving a steady income as associate editor for the Atlanta Constitution. Living in the West End section of Atlanta, he filled his letters with fascinating details of daily life, along with insights on such famous visitors to the city as James Whitcomb Riley, William Jennings Bryan, and James O'Neill." "Dearest Chums and Partners also elucidates heretofore undisclosed aspects of the writer's personality and tastes, including his significant interest in the Roman Catholic Church. His French-Canadian wife, Esther LaRose Harris, was a devout Catholic, and their two daughters, Lillian and Mildred, attended convent school together. Many of the letters were mailed to the two girls at St. Joseph's Academy in Washington, Georgia. Because all incoming and outgoing mail was screened by the nuns, Harris developed a rapport with several of the sisters and wrote parts for them in skits he created for his daughters." "Letters to his sons tended to be more instructive, although he would clarify his intent: "I am not lecturing, nor issuing orders. I am merely making suggestions." He advised Julian to keep a journal and to record his "experience and observation each day, and all the incidents that occur," adding, "To do this would seem monotonous to you now, but it would be invaluable to you later."".

Cartoons about African Americans, mostly children, in 2-leaf sequences.

Brasch defends the accuracy of Harris's literary depiction of both American Black English and Reconstruction Georgia. Brasch also examines the nature of fame and places a variety of other social and political issues in the context of this major American writer.

Uncle Remus Stories (1906) by Joel Chandler Harris (1845-1908), with illustratrions. Uncle Remus is a collection of animal stories, songs, and oral folklore, collected from Southern United States African-Americans. Many of the stories are didactic, much like those of Aesop's Fables and the stories of Jean de La Fontaine. Uncle Remus is a kindly old former slave who serves as a storytelling device, passing on the folktales to children gathered around him. Br'er Rabbit ("Brother Rabbit") is the main character of the stories, a likable character, prone to tricks and trouble-making who is often opposed by Br'er Fox and Br'er Bear. In one tale, Br'er Fox constructs a lump of tar and puts clothing on it. When Br'er Rabbit comes along he addresses the "tar baby" amiably, but receives no response. Br'er Rabbit becomes offended by what he perceives as Tar Baby's lack of manners, punches it, and becomes stuck.

With his comically floppy hat and striped baggy stockings, gentle, serious Uncle Lubin is left in charge of his beloved nephew Peter. One fateful day, a great Bagbird swoops down while Uncle Lubin is innocently napping, whisks away the screaming child in his beak, and flies to the moon.