Narrative of the author's experiences as a slave in St. Louis and elsewhere.

Originally published in London in 1857 and never before available in paperback, The Garies and Their Friends is the second novel published by an African American and the first to chronicle the experience of free blacks in the pre-Civil War northeast. The novel anticipates themes that were to become important in later African American fiction, including miscegenation and 'passing, ' and tells the story of the Garies and their friends, the Ellises, a 'highly respectable and industrious coloured family.'

Clotelle; or the Colored Heroine by William Wells Brown (1814 - 1884) was originally printed by the Press of Geo. C Rand and Avery in 1867. This reproduction is reset line-for-line, page-for-page from a copy in the Negro Collection of the Fisk University Library by Jeffrey Young & Associates.

A rocket ride of a thriller—the #1 New York Times bestselling blockbuster by President Bill Clinton and James Patterson, "the dream team" (Lee Child). All Presidents have nightmares. This one is about to come true. Every detail is accurate—because one of the authors is President Bill Clinton. The drama and action never stop—because the other author is James Patterson. Matthew Keating, a one-time Navy SEAL—and a past president—has always defended his family as staunchly as he has his country. Now those defenses are under attack. A madman abducts Keating's teenage daughter, Melanie—turning every parent's deepest fear into a matter of national security. As the world watches in real time, Keating embarks on a one-man special-ops mission that tests his strengths: as a leader, a warrior, and a father. The authors' first collaboration, The President Is Missing, a #1 New York Times bestseller and the #1 bestselling novel of 2018, was praised as "ambitious and wildly readable" (New York Times Book Review) and "a fabulously entertaining thriller" (Pulitzer Prize-winning author Ron Chernow).

Passing and the Rise of the African American Novel restores to its rightful place a body of American literature that has long been overlooked, dismissed, or misjudged. This insightful reconsideration of nineteenth-century African-American fiction uncovers the literary artistry and ideological complexity of a body of work that laid the foundation for the Harlem Renaissance and changed the course of American letters. Focusing on the trope of passing -- black characters lightskinned enough to pass for white -- M. Giulia Fabi shows how early African-American authors such as William Wells Brown, Frank J. Webb, Charles W. Chesnutt, Sutton E. Griggs, James Weldon Johnson, Frances E. W. Harper, and Edward A. Johnson transformed traditional representations of blackness and moved beyond the tragic mulatto motif. Celebrating a distinctive, African-American history, culture, and worldview, these authors used passing to challenge the myths of racial purity and the color line. Fabi examines how early black writers adapted existing literary forms, including the sentimental romance, the domestic novel, and the utopian novel, to express their convictions and concerns about slavery, segregation, and racism. She also gives a historical overview of the canon-making enterprises of African-American critics from the 1850s to the 1990s and considers how their concerns about crafting a particular image for African-American literature affected their perceptions of nineteenth-century black fiction.

First published in the year 1912, 'The Autobiography of an Ex-Colored Man' by James Weldon Johnson is the fictional account of a young biracial man, referred to as the "Ex-Colored Man", living in post-Reconstruction era America in the late nineteenth and early twentieth centuries.

Writing was the central passion of Emerson’s life. While his thoughts on the craft are well developed in “The Poet,” “The American Scholar,” Nature, “Goethe,” and “Persian Poetry,” less well known are the many pages in his private journals devoted to the relationship between writing and reading. Here, for the first time, is the Concord Sage’s energetic, exuberant, and unconventional advice on the idea of writing, focused and distilled by the preeminent Emerson biographer at work today. Emerson advised that “the way to write is to throw your body at the mark when your arrows are spent.” First We Read, Then We Write contains numerous such surprises—from “every word we speak is million-faced” to “talent alone cannot make a writer”—but it is no mere collection of aphorisms and exhortations. Instead, in Robert Richardson’s hands, the biographical and historical context in which Emerson worked becomes clear. Emerson’s advice grew from his personal experience; in practically every moment of his adult life he was either preparing to write, trying to write, or writing. Richardson shows us an Emerson who is no granite bust but instead is a fully fleshed, creative person disarmingly willing to confront his own failures. Emerson urges his readers to try anything—strategies, tricks, makeshifts—speaking not only of the nuts and bolts of writing but also of the grain and sinew of his determination. Whether a writer by trade or a novice, every reader will find something to treasure in this volume. Fearlessly wrestling with “the birthing stage of art,” Emerson’s counsel on being a reader and writer will be read and reread for years to come.