"Master of language" (The New York Times) John Edgar Wideman's first-ever collection of his most revered works--two novels and story collection all set in the Pittsburgh neighborhood of Homewood where he grew up. Damballah, Hiding Place, and Sent for You Yesterday provide a stunning introduction to the uncompromising work of John Edgar Wideman, whose literary achievements have inspired The New York Times to name him "one of America's premier writers of fiction." Damballah's narratives examine the vexed history of Homewood, a Pittsburgh, Pennsylvania neighborhood whose origins are rooted in a time when slavery was still legal in the United States of America. The novels Hiding Place and Sent for You Yesterday personalize and interrogate that history's presence in the contemporary lives of Homewood people and all Americans. Deeply concerned that designations such as "economically oppressed" or "Black" continue to dismiss and marginalize rather than embrace communities like the one in which he was raised, John Edgar Wideman--employing words on the page as his weapon--has dedicated himself to recording the weight, beauty, complexity, and justice that he believes Homewood's voices, stories, and lives have earned and deserve. In 1983, The Homewood Trilogy signaled the arrival of a major voice in American literature. Forty years later, this edition of the Trilogy celebrates Wideman's ongoing contribution by offering these masterworks to a new generation of readers.

In this new short story collection, John Edgar Wideman blends the historical and the imaginary, the personal and the political, to invent complex, charged stories about love, death and struggle. With a cast of real and fictional characters as diverse as Frederick Douglass, Jean-Michel Basquiat, and Wideman's own family, it is a journey through the soul of America. In 'JB & FD' Wideman imagines conversations between white anti-slavery crusader John Brown and abolitionist Frederick Douglass. In 'Williamsburg Bridge' a man contemplates his life as he sits on the edge of the bridge, meaning to jump. In 'Maps and Ledgers' a brother and sister ponder their father's killing of another man. In these and the other stories in this collection, Wideman navigates an extraordinary range of subject and tone. He delivers individual narratives both emotionally precise and intellectually stimulating, and an extended meditation on family, history and loss. American Histories demonstrates a master at his absolute best.

A WALL STREET JOURNAL BEST BOOK OF THE YEAR Forty years after John Edgar Wideman's first book of stories, comes this stunning collection that is vital reading for anyone interested in the state of America today. Its subjects range from Michael Jordan to Emmett Till, from distrust of authority to everyday grief, from childhood memories to the final day in a prison cell. A boy stands alone in his grandmother's house, unable to enter the room in which his grandfather's coffin lies, afraid the dead man may speak, afraid he won't speak. Freddie Jackson's song 'You Are My Lady' plays on the car radio as a son is brought to a prison cell in Arizona. A narrator contemplates the Atlanta child murders from 1979. Never satisfied to simply tell a story, Wideman continues to push form, with stories within stories, sentences that rise like a jazz solo with every connecting clause, voices that reflect who he is and where he's from, and an exploration of time that entangles past and present. Whether historical or contemporary, intimate or expansive, the stories here represent a pioneering American writer whose innovation and imagination know no bounds.

Brothers and Keepers is John Edgar Wideman's seminal memoir about two brothers - one an award-winning novelist, the other a fugitive. Wideman recalls the capture of his younger brother Robby, details the subsequent trials that resulted in a sentence of life in prison, and provides vivid views of the American prison system. A gripping, unsettling account, Brothers and Keepers weighs the bonds of blood, tenderness and guilt that connect him to his brother and measures the distance that lies between them.

'This is truly inimitable storytelling' Observer '[A] master of language' New York Times A boy stands alone, unable to enter the room in which his grandfather's coffin lies. Freddie Jackson's song 'You Are My Lady' plays on the car radio as a son is brought to a prison cell in Arizona. A narrator contemplates the Atlanta child murders from 1979. Look For Me and I'll Be Gone is vital reading for anyone interested in the state of America today. Historical and contemporary, intimate and expansive, the stories here represent a pioneering writer whose innovation, form and imagination know no bounds.

The Drue Heinz Literature Prize was established in 1980 to encourage and support the writing and reading of short fiction. Over the past twenty years judges such as Robert Penn Warren, Raymond Carver, Joyce Carol Oates, Margaret Atwood, Russell Banks, Alice McDermott, and Frank Conroy have selected the best collections from the hundreds submitted annually by up-and-coming writers. 20 represents the best of the best-one story from each of the prize-winning volumes. Chosen by acclaimed author John Edgar Wideman, the selections cover a broad range of inventive and original characters, settings, and emotions, charting the evolution of the short story over the past two decades. One of the most prestigious awards of its kind, the Drue Heinz Literature Prize has helped launch the careers of a score of previously "undiscovered" writers, many of whom have gone on to great critical success. Past Winners of the Drue Heinz Literature Prize: David Bosworth, Robley Wilson, Jonathan Penner, Randall Silvis, W. D. Wetherell, Rick DeMarinis, Ellen Hunnicutt, Reginald McKnight, Maya Sonenberg, Rick Hillis, Elizabeth Graver, Jane McCafferty, Stewart O'Nan, Jennifer Cornell, Geoffrey Becker, Edith Pearlman, Katherine Vaz, Barbara Croft, Lucy Honig, Adria Bernardi.

In 1985 police bombed a West Philadelphia row house. Eleven people died and a fire started that destroyed sixty other houses. John Edgar Wideman brings these events and their repercussions to shocking life in this seminal novel. At the heart of Philadelphia Fire is Cudjoe, a writer and exile who returns to his old neighbourhood and who becomes obsessed with the search for a lone survivor of the event, a young boy seen running from the flames. One of Wideman's most ambitious and celebrated works, Philadelphia Fire is about race, life and survival in urban America.

A philosopher, psychiatrist, and political activist, Frantz Fanon was a fierce, acute critic of racism and oppression. Born of African descent in Martinique in 1925, Fanon fought in defense of France during World War II but later against France in Algeria's war for independence. His last book, The Wretched of the Earth, published in 1961, inspired leaders of diverse liberation movements: Steve Biko in South Africa, Che Guevara in Latin America, the Black Panthers in the States.
Wideman's novel is disguised as the project of a contemporary African American novelist, Thomas, who undertakes writing a life of Fanon. The result is an electrifying mix of perspectives, traveling from Manhattan to Paris to Algeria to Pittsburgh. Part whodunit, part screenplay, part love story, Fanon introduces the French film director Jean-Luc Godard to the ailing Mrs. Wideman in Homewood and chases the meaning of Fanon's legacy through our violent, post-9/11 world, which seems determined to perpetuate the evils Fanon sought to rectify.

In God's Gym, the celebrated author John Edgar Wideman offers stories that pulse with emotional electricity. The ten pieces here explore strength, both physical and spiritual. The collection opens with a man paying tribute to the quiet fortitude of his mother, a woman who "should wear a T-shirt: God's Gym." In the stories that follow, Wideman delivers powerful riffs on family and fate, basketball and belief. His mesmerizing prose features guest appearances by cultural luminaries as diverse as the Harlem Globetrotters, Frantz Fanon, Thelonious Monk, and Marilyn Monroe. As always, Wideman astounds with writing that moves from the intimate to the political, from shock to transcendence.

A redemptive, healing novel, Two Cities brings to brilliant culmination the themes John Edgar Wideman has developed in fourteen previous acclaimed books. It is a story of bridges -- bridges spanning the rivers of Philadelphia and Pittsburgh, bridges arching over the rifts that have divided our communities, our country, our hearts. Narrated in the bluesy voices of its three main characters, Two Citiesis a simple love story, but it is also about the survival of an endangered black urban community and the ways that people discover for redeeming themselves in a society that is failing them. With its indelible images of confrontation and outrage, matched in equal measure by lasting impressions of hope, Two Cities is a compassionate, lacerating, and nourishing novel.

In plague-ridden eighteenth-century Philadelphia, a young itinerant black preacher searches for a mysterious, endangered African woman. His struggle to find her and save them both plummets them both into the nightmare of a society violently splitting itself into white and black. Spiraling outward from the core image of a cattle killing--the Xhosa people's ritual destruction of their herd in a vain attempt to resist European domination--the novel expands its narrator's search for meaning and love into the America, Europe and South Africa of yesterday and today.

By turns subtle and intense, disturbing and elusive, the stories in this collection are ultimately connected by themes of memory and loss, reality and fabrication, and by a richless of language that rests lightly on its carefully foundation.

These stories offer spellbinding reflections on abolitionists and artists, fathers and sons, the bonds of family and the pull of memory. A re-imagined conversation takes place between white anti-slavery crusader John Brown and black abolitionist Frederick Douglass. A man sits on the edge of Williamsburg Bridge, contemplating suicide. The author considers the deaths of his brother, uncle, mother and niece. John Edgar Wideman's fiction challenges the boundaries of the form. Emotionally precise and intellectually stimulating, this is Wideman at his best.

When Emmett Till was murdered aged fourteen for allegedly whistling at a white woman, photographs of his destroyed face became a flashpoint in the civil rights movement. A decade earlier Emmett's father, Louis, had also been killed - court-martialled and hanged. Though the circumstances could hardly have been more different, behind both deaths stood the same crime, of being black. In Writing to Save a Life, John Edgar Wideman, born the same year as Emmett Till, investigates the tragic fates of father and son. Mixing research, memoir and imagination, this book is an essential commentary on racism in America - illuminating, humane and profound.

Sports have long served as inspiration for poetry -- the ancient Greeks wrote odes in praise of their athletes -- so it is little surprise that in a culture as obsessed with athletes as our own sports would exert an influence on contemporary poets. Motion: American Sports Poems rescues sports from our society's focus on superstars, multimillion-dollar contracts, and gold medals to capture champions and losers, competitors and spectators in moments that are anything but fleeting.

As Noah Blaustein points out in his preface, among the many parallels made between sports and poetry is the idea of transcendence. Forged from the most basic elements of sport -- energy, movement, and rhythm -- the poems in this anthology reflect something universal: sport as metaphor, sport as struggle, sport as the battleground for mythic figures and local heroes.

The often celebrated sports -- baseball, boxing, football, and basketball -- are here along with unexpected pastimes like surfing, skateboarding, tennis, soccer, karate, rock climbing, bowling, and curling. Young and old, black and white, male and female, the poets in this anthology celebrate everyone who has come together in the shimmy and shake and sweat of sport.

Demonstrating the extraordinary versatility of African-American men's writing since the 1970s, this forceful collection illustrates how African-American male novelists and playwrights have absorbed, challenged, and expanded the conventions of black American writing and, with it, black male identity.

From the "John Henry Syndrome" -- a definition of black masculinity based on brute strength or violence -- to the submersion of black gay identity under equations of gay with white and black with straight, the African-American male in literature and drama has traditionally been characterized in ways that confine and silence him. Contemporary Black Men's Fiction and Drama identifies the forces that limit black male discourse, including traditions established by iconic African-American male authors such as James Baldwin, Richard Wright, and Ralph Ellison. This thoughtful volume also shows how contemporary black male authors use their narratives to put forward new ways of being and knowing that foster a more complete sense of self and more humane and open ways of communicating with and relating to others.

In the work of Charles Johnson, Ernest Gaines, and August Wilson, contributors find paths toward broader, less rigid ideas of what black literature can be, what the connections among individual and communal resistance can be, and how black men can transcend the imprisoning models of hypermasculinity promoted by American culture. Seeking greater spiritual connection with the past, John Edgar Wideman returns to the folk rituals of his family, while Melvin Dixon and Brent Wade reclaim African roots and traditions.

Ishmael Reed struggles with a contemporary cultural oppression that he seesas an insidious echo of slavery, while Clarence Major's experimental writing suggests how black men might reclaim their own voices in a culture that silences them.

Taking in a wide range of critical, theoretical, cultural, gender, and sexual concerns, Contemporary Black Men's Fiction and Drama provides provocative and sustaining new readings of both established and relatively unknown writers.