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Featuring a new introduction for this new edition, The Conjure
Woman is probably Chesnutt's most powerful work, a collection of
stories set in post-war North Carolina. The main character is Uncle
Julius, a former slave, who entertains a white couple from the
North with fantastic tales of antebellum plantation life. Julius
tells of supernatural phenomenon, hauntings, transfiguration, and
conjuring, which were typical of Southern African-American folk
tales at the time. Uncle Julius tells the stories in a way that
speaks beyond his immediate audience, offering stories of slavery
and inequality that are, to the enlightened reader, obviously
wrong. The tales are fabulistic, like those of Uncle Remus or
Aesop, with carefully crafted allegories on the psychological and
social effects of slavery and racial injustice. FLAME TREE 451:
From mystery to crime, supernatural to horror and myth, fantasy and
science fiction, Flame Tree 451 offers a healthy diet of werewolves
and robots, mad scientists, secret worlds, lost civilizations and
escapist fantasies. Discover a storehouse of tales, ancient and
modern gathered specifically for the reader of the fantastic. The
Foundations titles also explore the roots of modern fiction and
brings together neglected works which deserve a wider readership as
part of a series of classic, essential books.
The Marrow of Tradition (1901), Charles Chesnutt's second novel, is
one of the most prominent entries in the canon of post-bellum,
pre-Harlem Renaissance Black writing. Notable for its fictionalized
retelling of the 1898 Wilmington Race Riots, the novel is called to
by scholars and readers for its acute depiction of America's
turn-of-the-century racial atmosphere. The Norton Library edition
features the original 1901 text, explanatory endnotes, and a
sweeping introduction by Autumn Womack that details the work's
historical context, literary achievements, and groundbreaking
critique of white supremacy.
This Norton Critical Edition of The Conjure Stories arranges the
tales chronologically by composition date, allowing readers to
discern how Chesnutt experimented with plots and characters and
with the idea of the conjure story over time. With one exception,
the text of each tale is that of the original publication. (The
text of "The Dumb Witness" was established from two typescripts
held at the archives of Fisk University.) The stories are
accompanied by a thorough and thought-provoking introduction,
detailed explanatory annotations, and illustrative materials.
"Contexts" presents a wealth of materials chosen by the editors to
enrich the reader's understanding of these canonical stories,
including a map of the landscape of the conjure tales, Chesnutt's
journal entry as he began writing fiction of the South, as well as
writings by Chesnutt, William Wells Brown, and Paul Laurence
Dunbar, among others, on the stories' central motifs-folklore,
superstition, voodoo, race, and social identity in the South
following the Civil War. "Criticism" is divided into two parts.
"Early Criticism" collects critical notices for The Conjure Woman
that suggest the volume's initial reception, assessments by William
Dean Howells and Benjamin Brawley, and a biographical excerpt by
the author's daughter, Helen Chesnutt. "Modern Criticism"
demonstrates rich and enduring interest in The Conjure Stories with
ten important essays by Robert Hemenway, William L. Andrews, Robert
B. Stepto, John Edgar Wideman, Werner Sollors, Houston A. Baker,
Eric J. Sundquist, Richard H. Brodhead, Candace J. Waid, and Glenda
Carpio. A Chronology of Chesnutt's life and work and a Selected
Bibliography are also included.
This book collects the letters written between 1906 and 1932 by
novelist and civil rights activist Charles W. Chesnutt (1858-1932).
Between 1885 and 1905, this pioneer in the African-American
literary tradition published three novels, two books of short
stories, a biography of Frederick Douglass, and many short stories
and essays in prestigious periodicals-at the same time managing a
stenography and court reporting firm in Cleveland, Ohio. His works,
which featured the experiences of African-Americans in the ante-
and post-bellum period, received favorable reviews. But they did
not find a large and appreciative audience until many decades later
when both the civil rights movement and increased interest in the
African-American contribution to American cultural life resulted in
the "rediscovering" of Chesnutt's large body of writings. Though he
never saw the publication of another of his book-length manuscripts
after 1905, Chesnutt continued to write fiction and essays, and to
deliver speeches ranging from disenfranchisement to the life and
works of Alexandre Dumas, and to act in behalf of the
African-American cause through such organizations as the Committee
of Twelve and the N.A.A.C.P. A dedicated integrationist opposed to
"race-pride" movements of all kinds, Chesnutt in his post-1905
letters includes many references to the unfortunate consequences of
racial segregation, addressed to both African-American and white
correspondents. These letters also reveal a multi-faceted
personality with interests that transcended the issue of race and
urged everyone to live life to the fullest. His correspondents
included prominent members of the Harlem Renaissance as well as
major American political figures Chesnutt sought to influence on
behalf of his fellow African-Americans. As a successful businessman
enjoying the amenities of upper middle class American life, a
family man, and an Episcopalian who worshipped at a "white church,"
Chesnutt in many respects embodied the realization of the American
Dream. He was, as William Dean Howells termed Booker T. Washington,
an "exemplary citizen" and a role model for all Americans.
Evoking the atmosphere of early-nineteenth-century New Orleans
and the deadly aftermath of the San Domingo slave revolution, this
historical novel begins as its protagonist puzzles over the
seemingly prophetic dream of an aged black praline seller in the
famous Place d'Armes. Paul Marchand, a free man of color living in
New Orleans in the 1820s, is despised by white society for being a
quadroon, yet he is a proud, wealthy, well-educated man. In this
city where great wealth and great poverty exist side by side, the
richest Creole in town lies dying. The family of the aged Pierre
Beaurepas eagerly, indeed greedily, awaits disposition of his
wealth. As the bombshell of Beaurepas's will explodes, an old
woman's dream takes on new meaning, and Marchand is drawn ever more
closely into contact with a violently racist family. Bringing to
life the entwined racial cultures of New Orleans society, Charles
Chesnutt not only writes an exciting tale of adventure and mystery
but also makes a provocative comment on the nature of racial
identity, self-worth, and family loyalty.
Although he was the first African-American writer of fiction to
gain acceptance by America's white literary establishment, Charles
W. Chesnutt (1858-1932) has been eclipsed in popularity by other
writers who later rose to prominence during the Harlem Renaissance.
Recently, this pathbreaking American writer has been receiving an
increasing amount of attention. Two of his novels, " Paul Marchand,
F.M.C." (completed in 1921) and "The Quarry" (completed in 1928),
were considered too incendiary to be published during Chesnutt's
lifetime. Their publication now provides us not only the
opportunity to read these two books previously missing from
Chesnutt's oeuvre but also the chance to appreciate better the
intellectual progress of this literary pioneer. Chesnutt was the
author of many other works, including "The Conjure Woman &
Other Conjure Tales, The House Behind the Cedars, The Marrow
Tradition, " and "Mandy Oxendine." Princeton University Press
recently published "To Be an Author: Letters of Charles W.
Chesnutt, 1889-1905" (edited by Joseph R. McElrath, Jr., and Robert
C. Leitz, III).
Originally published in 1999.
The Princeton Legacy Library uses the latest print-on-demand
technology to again make available previously out-of-print books
from the distinguished backlist of Princeton University Press.
These paperback editions preserve the original texts of these
important books while presenting them in durable paperback
editions. The goal of the Princeton Legacy Library is to vastly
increase access to the rich scholarly heritage found in the
thousands of books published by Princeton University Press since
its founding in 1905.
Evoking the atmosphere of early-nineteenth-century New Orleans and
the deadly aftermath of the San Domingo slave revolution, this
historical novel begins as its protagonist puzzles over the
seemingly prophetic dream of an aged black praline seller in the
famous Place d'Armes. Paul Marchand, a free man of color living in
New Orleans in the 1820s, is despised by white society for being a
quadroon, yet he is a proud, wealthy, well-educated man. In this
city where great wealth and great poverty exist side by side, the
richest Creole in town lies dying. The family of the aged Pierre
Beaurepas eagerly, indeed greedily, awaits disposition of his
wealth. As the bombshell of Beaurepas's will explodes, an old
woman's dream takes on new meaning, and Marchand is drawn ever more
closely into contact with a violently racist family. Bringing to
life the entwined racial cultures of New Orleans society, Charles
Chesnutt not only writes an exciting tale of adventure and mystery
but also makes a provocative comment on the nature of racial
identity, self-worth, and family loyalty. Although he was the first
African-American writer of fiction to gain acceptance by America's
white literary establishment, Charles W. Chesnutt (1858-1932) has
been eclipsed in popularity by other writers who later rose to
prominence during the Harlem Renaissance. Recently, this
pathbreaking American writer has been receiving an increasing
amount of attention. Two of his novels, Paul Marchand, F.M.C.
(completed in 1921) and The Quarry (completed in 1928), were
considered too incendiary to be published during Chesnutt's
lifetime. Their publication now provides us not only the
opportunity to read these two books previously missing from
Chesnutt's oeuvre but also the chance to appreciate better the
intellectual progress of this literary pioneer. Chesnutt was the
author of many other works, including The Conjure Woman & Other
Conjure Tales, The House Behind the Cedars, The Marrow Tradition,
and Mandy Oxendine. Princeton University Press recently published
To Be an Author: Letters of Charles W. Chesnutt, 1889-1905 (edited
by Joseph R. McElrath, Jr., and Robert C. Leitz, III). Originally
published in 1999. The Princeton Legacy Library uses the latest
print-on-demand technology to again make available previously
out-of-print books from the distinguished backlist of Princeton
University Press. These editions preserve the original texts of
these important books while presenting them in durable paperback
and hardcover editions. The goal of the Princeton Legacy Library is
to vastly increase access to the rich scholarly heritage found in
the thousands of books published by Princeton University Press
since its founding in 1905.
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The Quarry (Paperback)
Charles W. Chesnutt; Edited by Dean McWilliams
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R1,548
Discovery Miles 15 480
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Ships in 10 - 15 working days
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Was Donald Glover really what he seemed--a handsome, dedicated,
and clever African-American star of the Harlem Renaissance, whose
looks made him the "quarry" of a variety of women? Or could the
secrets of his birth change his destiny entirely? Focusing on the
culture of Harlem in the 1920s, Charles Chesnutt's final novel
dramatizes the political and aesthetic life of the exciting period
we now know as the Harlem Renaissance. Mixing fact and fiction, and
real and imagined characters, "The Quarry" is peopled with so many
figures of the time--including Booker T. Washington, W. E. B.
DuBois, and Marcus Garvey--that it constitutes a virtual guide to
this inspiring period in American history. Protagonist Glover is a
light-skinned man whose adoptive black parents are determined that
he become a leader of the black people. Moving from Ohio to
Tennessee, from rural Kentucky to Harlem, his story depicts not
only his conflicted relationship to his heritage but also the
situation of a variety of black people struggling to escape
prejudice and to take advantage of new opportunities.
Although he was the first African-American writer of fiction to
gain acceptance by America's white literary establishment, Charles
W. Chesnutt (1858-1932) has been eclipsed in popularity by other
writers who later rose to prominence during the Harlem Renaissance.
Recently, this pathbreaking American writer has been receiving an
increasing amount of attention. Two of his novels, " Paul Marchand,
F.M.C." (completed in 1921) and "The Quarry" (completed in 1928),
were considered too incendiary to be published during Chesnutt's
lifetime. Their publication now provides us not only the
opportunity to read these two books previously missing from
Chesnutt's oeuvre but also the chance to appreciate better the
intellectual progress of this literary pioneer. Chesnutt was the
author of many other works, including "The Conjure Woman &
Other Conjure Tales, The House Behind the Cedars, The Marrow
Tradition, " and "Mandy Oxendine." Princeton University Press
recently published "To Be an Author: Letters of Charles W.
Chesnutt, 1889-1905" (edited by Joseph R. McElrath, Jr., and Robert
C. Leitz, III).
Originally published in 1999.
The Princeton Legacy Library uses the latest print-on-demand
technology to again make available previously out-of-print books
from the distinguished backlist of Princeton University Press.
These paperback editions preserve the original texts of these
important books while presenting them in durable paperback
editions. The goal of the Princeton Legacy Library is to vastly
increase access to the rich scholarly heritage found in the
thousands of books published by Princeton University Press since
its founding in 1905.
Inspired by the 1898 Wilmington Riot and the eyewitness accounts of
Charles W. Chesnutt's own family, Chesnutt's The Marrow of
Tradition captures the astonishing moment in American history when
a violent coup d'etat resulted in the subversion of a free and
democratic election. The Norton Critical Edition text is based on
the 1901 first edition. It is accompanied by a note on the text,
Werner Sollors's insightful introduction, explanatory annotations,
and twenty-four photographs and illustrations. "Contexts" connects
the novel to the historical events in Wilmington and includes a
wealth of newspaper articles, editorials, and biographical sketches
of the central players. The account of riot instigator Alfred Moore
Waddell, published just weeks after the event, is reprinted, along
with three rarely seen letters: W. E. B. Du Bois's and Booker T.
Washington's comments on the novel and Walter Hines Page's letter
to Chesnutt. Rounding out the historical record is a selection of
1890s sheet music, a poem, and newspaper articles on the Cakewalk,
a popular dance of the period with roots in slavery. "Criticism"
begins with twelve contemporary reviews, including those by
Hamilton Wright Mabie, Katherine Glover, William Dean Howells, and
Sterling A. Brown. Fifteen recent assessments focus on the novel's
characters, history, realism, and violence. As scholarship on The
Marrow of Tradition and on Wilmington in 1898 has been especially
active since the 1990s, ten assessments are from this period. A
Chronology and Selected Bibliography are also included.
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