In 1829 in Kentucky, a pregnant black woman helped lead an uprising of a group of slaves headed to the market for sale. She was sentenced to death, but her hanging was delayed until after the birth of her baby. In North Carolina in 1830, a white woman living on an isolated farm was reported to have given sanctuary to runaway slaves. In this classic novel of courage and redemption, acclaimed author Sherley Anne Williams asks the question: "What if these two women had met?" These two strong women, one black, one white, form a forbidden and ambivalent alliance as a bold scheme is hatched to win freedom. Trust is slowly extended and cautiously accepted as the women unite and discover greater strength together than alone. Bound by fate but divided by prejudice, they explore and defy racial barriers in a moving story of courage, freedom, friendship, and love.

Sherley A. Williams’ highly acclaimed historical novel details two women’s fierce strength of will and an unlikely bond despite racial barriers in the pre-civil war south “Having this treasure of a book available again for new and more readers is not only necessary, it is imperative.”—Toni Morrison In 1829, in Kentucky, a pregnant black woman helped lead an uprising of a group of slaves headed to the market for sale. She was sentenced to death, but her hanging was delayed until after the birth of her baby. In North Carolina in 1830, a white woman living on an isolated farm was reported to have given sanctuary to runaway slaves. In Dessa Rose, Sherley A. Williams asks the question: “What if these two women met?” From there the story unfolds: two strong women, one black, one white, form a forbidden and ambivalent alliance; a bold scheme is hatched to win freedom; trust is slowly extended and cautiously accepted as the two women unite and discover greater strength together than alone. United by fate but divided by prejudice, these two women are locked in a thrilling battle for freedom, sisterhood, friendship, and love.

As Nathan Huggins once stated, altering American history to account fully for the nation's black voices would change the tone and meaning--the frame and the substance--of the entire story. Rather than a sort of Pilgrim's Progress tale of bold ascent and triumph, American history with the black parts told in full would be transmuted into an existential tragedy, closer, Huggins said, to Sartre's No Exit than to the vision of life in Bunyan. The relation between memory and history has received increasing attention both from historians and from literary critics. In this volume, a group of leading scholars has come together to examine the role of historical consciousness and imagination in African-American culture. The result is a complex picture of the dynamic ways in which African-American historical identity constantly invents and transmits itself in literature, art, oral documents, and performances. Each of the scholars represented has chosen a different "site of memory"--from a variety of historical and geographical points, and from different ideological, theoretical, and artistic perspectives. Yet the book is unified by a common concern with the construction of an emerging African-American cultural memory. The renowned group of contributors, including Hazel Carby, Werner Sollors, Veve Clark, Catherine Clinton, and Nellie McKay, among others, consists of participants of the five-year series of conferences at the DuBois Institute at Harvard University, from which this collection originated. Conducted under the leadership of Genevieve Fabre, Melvin Dixon, and the late Nathan Huggins, the conferences--and as a result, this book--represent something of a cultural moment themselves, and scholars and students of American and African-American literature and history will be richer as a result.

As Nathan Huggins once stated, altering American history to account fully for the nation's black voices would change the tone and meaning--the frame and the substance--of the entire story. Rather than a sort of Pilgrim's Progress tale of bold ascent and triumph, American history with the black parts told in full would be transmuted into an existential tragedy, closer, Huggins said, to Sartre's No Exit than to the vision of life in Bunyan. The relation between memory and history has received increasing attention both from historians and from literary critics. In this volume, a group of leading scholars has come together to examine the role of historical consciousness and imagination in African-American culture. The result is a complex picture of the dynamic ways in which African-American historical identity constantly invents and transmits itself in literature, art, oral documents, and performances. Each of the scholars represented has chosen a different "site of memory"--from a variety of historical and geographical points, and from different ideological, theoretical, and artistic perspectives. Yet the book is unified by a common concern with the construction of an emerging African-American cultural memory. The renowned group of contributors, including Hazel Carby, Werner Sollors, Vèvè Clark, Catherine Clinton, and Nellie McKay, among others, consists of participants of the five-year series of conferences at the DuBois Institute at Harvard University, from which this collection originated. Conducted under the leadership of Geneviève Fabre, Melvin Dixon, and the late Nathan Huggins, the conferences--and as a result, this book--represent something of a cultural moment themselves, and scholars and students of American and African-American literature and history will be richer as a result.

The Freedom to Remember examines contemporary literary revisions of slavery in the United States by black women writers. The narratives at the center of this book include: Octavia E. Butler's Kindred, Sherley Anne Williams's Dessa Rose, Toni Morrison's Beloved, J. California Cooper's Family, and Lorene Cary's The Price of a Child. Recent studies have investigated these works only from the standpoint of victimization. Angelyn Mitchell changes the conceptualization of these narratives, focusing on the theme of freedom, not slavery, defining these works as "liberatory narratives." These works create a space to problematize the slavery/freedom dichotomy from which contemporary black women writers have the "safe" vantage point to reveal aspects of enslavement that their ancestors could not examine. The nineteenth-century female emancipatory narrative, by contrast, was written to aid the cause of abolition by revealing the unspeakable realitiesof slavery. Mitchell shows how the liberatory narrative functions to emancipate its readers from the legacies of slavery in American society: by facilitating a deeper discussion of the issues and by making them new through illumination and interrogation.

Selections from this acclaimed musical written by Ahrens/Flaherty, the team that brought you Ragtime. Titles are: At the Glen * Capture the Girl * Fly Away * In the Bend of My Arm * Ink * Little Star * Old Banjar * The Scheme * Something of My Own * Twelve Children * We Are Descended * White Milk & Red Blood.