Recovering the lost history of a crucial era in African American literature The Indignant Generation is the first narrative history of the neglected but essential period of African American literature between the Harlem Renaissance and the civil rights era. The years between these two indispensable epochs saw the communal rise of Richard Wright, Gwendolyn Brooks, Ralph Ellison, Lorraine Hansberry, James Baldwin, and many other influential black writers. While these individuals have been duly celebrated, little attention has been paid to the political and artistic milieu in which they produced their greatest works. With this commanding study, Lawrence Jackson recalls the lost history of a crucial era. Looking at the tumultuous decades surrounding World War II, Jackson restores the "indignant" quality to a generation of African American writers shaped by Jim Crow segregation, the Great Depression, the growth of American communism, and an international wave of decolonization. He also reveals how artistic collectives in New York, Chicago, and Washington fostered a sense of destiny and belonging among diverse and disenchanted peoples. As Jackson shows through contemporary documents, the years that brought us Their Eyes Were Watching God, Native Son, and Invisible Man also saw the rise of African American literary criticism—by both black and white critics. Fully exploring the cadre of key African American writers who triumphed in spite of segregation, The Indignant Generation paints a vivid portrait of American intellectual and artistic life in the mid-twentieth century.

J. Saunders Redding (19061988) was often and justifiably called "the dean of African American scholars." As professor and man of letters, he wrote about African American literature and culture in vivid and scholarly prose. And of all the writers of his generation, he best represented, and came closest to explaining, the hopes and conflicts of American democracy in a multiracial society. Yet his perceptions and writings were never limited to race, nationality, academia, or one literary genre. In this first published anthology drawn from Redding's books, essays, and speeches, Faith Berry has compiled representative selections from every period and genre in which Redding wrote: autobiography, fiction, biography, history, journalism, travelogue, and literary criticism. The collection offers a wide range of his thought and criticism from numerous publications, as well as a comprehensive bibliography of his works. Redding is essential reading for all those who argue for or against the intellectual credo he espoused: that African American writing and culture be studied in the context of American life and culture, not in insolation. This useful and balanced edition of Redding's writing should serve to introduce him to a new audience certain to find his texts worthy of attention and discussion. Readers concerned with literary and social history, higher education, race relations, American and ethnic studies, foreign affairs, cultural exchange—or indeed the humanities in general—will find this work an important resource. Contemporary African American scholars will value the book as a lasting reference. And anyone unfamiliar with Redding's work will discover and appreciate the breadth of his contributions to scholarship and literature.

"The personal stories of lesser-known leaders in the civil rights movement remain unwritten. Moreover, the peculiar situation of the black middle class, which produced many of these civil rights heroes, remains largely unknown. The Reddings of Wilmington, Delaware were in many ways typical of their class in twentieth-century America. Their story is important because they were ordinary, hardworking people who strove for excellence and achieved success, and who for a moment in time, helped make a difference in their community and their country."--Jacket.

Americans in the World War II era bought the novels of African American writers in unprecedented numbers. But the names on the books lining shelves and filling barracks trunks were not the now-familiar Richard Wright and Ralph Ellison, but Frank Yerby, Chester Himes, William Gardner Smith, and J. Saunders Redding. In this book, Stephanie Brown recovers the work of these innovative novelists, overturning conventional wisdom about the writers of the period and the trajectory of African American literary history. She also questions the assumptions about the relations between race and genre that have obscured the importance of these once-influential creators. Wright's Native Son (1940) is typically considered to have inaugurated an era of social realism in African-American literature. And Ellison's Invisible Man (1952) has been cast as both a high mark of American modernism and the only worthy stopover on the way to the Black Arts Movement of the 1960s. But readers in the late 1940s purchased enough copies of Yerby's historical romances to make him the best-selling African American author of all time. Critics, meanwhile, were taking note of the generic experiments of Redding, Himes, and Smith, while the authors themselves questioned the obligation of black authors to write protest, instead penning campus novels, war novels, and, in Yerby's case, "costume dramas." Their status as "lesser lights" is the product of retrospective bias, Brown demonstrates, and their novels established the period immediately following World War II as a pivotal moment in the history of the African American novel.

Collection of essays tracing the historical evolution of African American experiences, from the dawn of Reconstruction onward, through the perspectives of sociology, political science, law, economics, education and psychology. As a whole, the book is a systematic study of the gap between promise and performance of African Americans since 1865. Over the course of thirty-four chapters, contributors present a portrait of the particular hurdles faced by African Americans and the distinctive contributions African Americans have made to the development of U.S. institutions and culture. --From publisher description.