Charles Chesnutt (1858-1932) was the first African American writer of fiction to win the attention and approval of America's literary establishment. Looking anew at Chesnutt's public and private writings, his fiction and nonfiction, and his well-known and recently rediscovered works, Dean McWilliams explores Chesnutt's distinctive contribution to American culture: how his stories and novels challenge our dominant cultural narratives--particularly their underlying assumptions about race. The published canon of Chesnutt's work has doubled in the last decade: three novels completed but unpublished in Chesnutt's life have appeared, as have scholarly editions of Chesnutt's journals, his letters, and his essays. This book is the first to offer chapter-length analyses of each of Chesnutt's six novels. It also devotes three chapters to his short fiction. Previous critics have read Chesnutt's nonfiction as biographical background for his fiction. McWilliams is the first to analyze these nonfiction texts as complex verbal artifacts embodying many of the same tensions and ambiguities found in Chesnutt's stories and novels. The book includes separate chapters on Chesnutt's journal and on his important essay "The Future American." Moreover, Charles W. Chesnutt and the Fictions of Race approaches Chesnutt's writings from the perspective of recent literary theory. To a greater extent than any previous study of Chesnutt, it explores the way his texts interrogate and deconstruct the language and the intellectual constructs we use to organize reality. The full effect of this new study is to show us how much more of a twentieth-century writer Chesnutt is than has been previously acknowledged. This accomplishment can only hasten his reemergence as one of our most important observers of race in American culture.

Passing in the Works of Charles W. Chesnutt is a collection that reevaluates Chesnutt's deft manipulation of the "passing" theme to expand understanding of the author's fiction and nonfiction. Nine contributors apply a variety of theories---including intertextual, signifying/discourse analysis, narratological, formal, psychoanalytical, new historical, reader response, and performative frameworks---to add richness to readings of Chesnutt's works. Together the essays provide convincing evidence that "passing" is an intricate, essential part of Chesnutt's writing, and that it appears in all the genres he wielded: journal entries, speeches, essays, and short and long fiction. The essays engage with each other to display the continuum in Chesnutt's thinking as he began his writing career and established his sense of social activism, as evidenced in his early journal entries. Collectively, the essays follow Chesnutt's works as he proceeded through the Jim Crow era, honing his ability to manipulate his mostly white audience through the astute, though apparently self-effacing, narrator, Uncle Julius, of his popular conjure tales. Chesnutt's ability to subvert audience expectations is equally noticeable in the subtle irony of his short stories. Several of the collection's essays address Chesnutt's novels, including Paul Marchand, F.M.C., Mandy Oxendine, The House Behind the Cedars, and Evelyn's Husband. The volume opens up new paths of inquiry into a major African American writer's oeuvre.

Reproduction of the original: The Colonel ́s Dream by Charles W. Chesnutt

Born on the eve of the Civil War, Charles W. Chesnutt grew up in Fayetteville, North Carolina, a county seat of four or five thousand people, a once-bustling commercial center slipping into postwar decline. Poor, black, and determined to outstrip his modest beginnings and forlorn surroundings, Chesnutt kept a detailed record of his thoughts, observations, and activities from his sixteenth through his twenty-fourth year (1874-1882). These journals, printed here for the first time, are remarkable for their intimate account of a gifted young black man's dawning sense of himself as a writer in the nineteenth century. Though he achieved literary success in his time, Chesnutt has only recently been rediscovered and his contribution to American literature given its due. The only known private diary from a nineteenth-century African American author, these pages offer a fascinating glimpse into Chesnutt's everyday experience as he struggled to win the goods of education in the world of the post-Civil War South. An extraordinary portrait of the self-made man beset by the urgencies and difficulties of self-improvement in a racially discriminatory society, Chesnutt's journals unfold a richly detailed local history of postwar North Carolina. They also show with great force how the world of the postwar South obstructed--and, unexpectedly, assisted--a black man of driving intellectual ambitions.

Credited with almost single-handedly pioneering a genuine African-American literary tradition in the short story, Chesnutt has influenced writers such as James Weldon Johnson and Charles Johnson. This collections contains all the stories in Chesnutt's two published volumes, The Conjure Woman and The Wife of His Youth and Other Stories of the Color Line, along with two uncollected works.

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