This study develops the theme of spiritual rhetoric as an important foundation of the American autobiographical tradition and the related idea that the marginalized voices of women and African-Americans worked to alter and redefine America's conception not only of autobiography but of self and gender. The redefinition process is illustrated through readings of texts ranging from Puritan conversion (Anne Bradstreet) through evangelical autobiography (African-American evangelist Amanda Berry Smith) and from Indian captivity narrative through the slave and ex-slave (postbellum) narratives.

In this ambitious work, Susan Clair Imbarrato examines the changes in the American autobiographical voice as it speaks through the transition from a colonial society to an independent republic.Imbarrato charts the development of early American autobiography from the self-examination mode of the Puritan journal and diary to the self-inventive modes of eighteenth-century writings, which in turn anticipate the more romantic voices of nineteenth-century American literature. She focuses especially on the ways in which first-person narrative displayed an ever-stronger awareness of its own subjectivity. The eighteenth century, she notes, remained closer in temper to its Puritan communal foundations than to its Romantic progeny, but there emerged, nevertheless, a sense of the individual voice that anticipated the democratic celebration of the self. Through acts of self-examination, this study shows, self-construction became possible.In tracing this development, the author focuses on six writers in three literary genres. She begins with the spiritual autobiographies of Jonathan Edwards and Elizabeth Ashbridge and then considers the travel narratives of Dr. Alexander Hamilton and Elizabeth House Trist. She concludes with an examination of political autobiography as exemplified in the writings of John Adams and Thomas Jefferson. These authors, Imbarrato finds, were invigorated by their choices in a social-political climate that revered the individual in proper relationship to the republic. Their writings expressed a revolutionary spirit that was neither cynical nor despairing but one that evinced a shared conviction about the bond between self and community.

"Preacher Woman Sings the Blues begins with the study of black evangelists Belinda, Jarena Lee, and Zilpha Elaw, continuing with Rebecca Cox Jackson, Sojourner Truth, Julia Foote, Amanda Smith, Elizabeth, and Virginia Broughton. The author's discussion of Zora Neale Hurston focuses on how Hurston operates as a connection between early black women evangelist writers and black women writing in America today. He ends with the works of Alice Walker, Toni Morrison, and Toni Cade Bambara." "By examining the early traditions prefiguring contemporary African American women's text and the impact that race and gender have on them, Douglas-Chin shows how the nineteenth-century black women's works are still of utmost importance to many African American writers today. Preacher Woman Sings the Blues makes a valuable contribution to literary criticism and theoretical analysis and will be welcomed by scholars and students alike." --Book Jacket.

The variety and complexity of its traditions make African American religion a difficult topic to teach at undergraduate level. The essays in this volume offer practical, innovative ways to teach this subject in a variety of settings.

This is a reference work which rescues from oblivion the names and literary production of women who, far from belonging to what is generally considered as the canon, emerged either from the spiritual solitude of Spanish Catholic nuns' cells or from the religious meetings, evangelizing travels or austere lives of Anglicans, Protestants, Quakers, Wesleyans, Baptists or Dissenting Presbyterians. This book offers a different insight into the works of those religious women from that of the women-writer guides and dictionaries published so far. In this sense, rather than discussing authors alphabetically, in terms of their biographies, this work is structured in four sections which correspond to four inclusive literary genres - prose, poetry, drama and translation. Each of those sections is, in its turn, subdivided into different subgenres.