Why did African-American women novelists use idealized stories of bourgeois courtship and marriage to mount arguments on social reform during the last decade of the nineteenth century - a time when resurgent racism conditioned the lives of all black Americans? Such stories now seem like apolitical fantasies to contemporary readers. In this study, Tate explores this apparent paradox through an examination of the novels of Pauline Hopkins, Emma Kelley, Amelia Johnson, Katherine Tillman, and Frances Harper. Domestic Allegories of Political Desire is more than a literary study; it is also a social and intellectual history - a cultural critique of a period that historian Rayford W. Logan called "the Dark Ages of recent American history". Against a rich contextual framework, extending from abolitionist protest to the Black Aesthetic, Tate argues that the idealized marriage plot in these novels does not merely depict the heroine's happiness and economic prosperity. Instead, that plot encodes a resonant cultural narrative - a domestic allegory - about the political ambitions of an emancipated people. Once this domestic allegory of political desire is unmasked, it can be seen as a significant discourse of the post-Reconstruction era for representing African Americans' collective dreams about freedom and for reconstructing those contested dreams into fictive consummations of civil liberty. Domestic Allegories of Political Desire is cultural criticism, cutting across the traditional disciplines of history, sociology, literature, and ethnology. By examining lost works, this book recovers the domestic heroine as a signifier of citizenship for African Americans, and domesticity as a discourse ofblack political agency. With this important work, Tate joins the ranks of leading scholars of African-American culture. It is essential reading for those interested in the intersection of race, gender, and class in American, African-American, and women's studies.

"Black women writers and critics are acting on the old adage that one must speak for oneself if one wishes to be heard." -Claudia Tate, from the introduction Long out of print, Black Women Writers at Work is a vital contribution to Black literature in the 20th century. Through candid interviews with Maya Angelou, Toni Cade Bambara, Gwendolyn Brooks, Alexis De Veaux, Nikki Giovanni, Kristin Hunter, Gayl Jones, Audre Lorde, Toni Morrison, Sonia Sanchez, Ntozake Shange, Alice Walker, Margret Walker, and Sherley Anne Williams, the book highlights the practices and critical linkages between the work and lived experiences of Black women writers whose work laid the foundation for many who have come after. Responding to questions about why and for whom they write, and how they perceive their responsibility to their work, to others, and to society, the featured playwrights, poets, novelists, and essayists provide a window into the connections between their lives and their art. Finally available for a new generation, this classic work has an urgent message for readers and writers today.

The poetry and journalistic essays of Katherine Tillman often appeared in publications sponsored by the American Methodist church. Collected together for the first time, her works speak of the struggles and triumphs of African-American women.

Claudia Tate argues that psychoanalytic paradigms can produce rich readings of African American desire, alienation, and subjectivity. Her provocative new book, aimed at scholars and students in African American studies, serves as an introduction to psychoanalytic theory and its applications for African American literature and culture. Tate summarizes the work of figures such as Freud and Lacan, with references to their contemporary literary proponents, and examine a series of texts by Emma Kelley, W.E.B. Du Bois, Richard Wright, Zora Heale Hurston, and Nella Larsen.

Why did African-American women novelists use idealized stories of bourgeois courtship and marriage to mount arguments on social reform during the last decade of the nineteenth century, during a time when resurgent racism conditioned the lives of all black Americans? Such stories now seem like apolitical fantasies to contemporary readers. This is the question at the center of Tate's examination of the novels of Pauline Hopkins, Emma Kelley, Amelia Johnson, Katherine Tillman, and Frances Harper. Domestic Allegories of Political Desire is more than a literary study; it is also a social and intellectual history--a cultural critique of a period that historian Rayford W. Logan called "the Dark Ages of recent American history." Against a rich contextual framework, extending from abolitionist protest to the Black Aesthetic, Tate argues that the idealized marriage plot in these novels does not merely depict the heroine's happiness and economic prosperity. More importantly, that plot encodes a resonant cultural narrative--a domestic allegory--about the political ambitions of an emancipated people. Once this domestic allegory of political desire is unmasked in these novels, it can be seen as a significant discourse of the post-Reconstruction era for representing African-Americans' collective dreams about freedom and for reconstructing those contested dreams into consummations of civil liberty.

“Black women writers and critics are acting on the old adage that one must speak for oneself if one wishes to be heard.� —Claudia Tate, from the introduction Long out-of-print, Black Women Writers at Work is a vital contribution to Black literature in the 20th century.  Through candid interviews with Maya Angelou, Toni Cade Bambara, Gwendolyn Brooks, Alexis De Veaux, Nikki Giovanni, Kristin Hunter, Gayl Jones, Audre Lorde, Toni Morrison, Sonia Sanchez, Ntozake Shange, Alice Walker, Margaret Walker, and Sherley Anne Williams, the book highlights the practices and critical linkages between the work and lived experiences of Black women writers whose contributions to the literary world laid the foundation for many who have come after. Responding to questions about why and for whom they write, and how they perceive their responsibility to their work, to others, and to society, the featured playwrights, poets, novelists, and essayists provide a window into the connections between their lives and their art. Finally available for a new generation, this classic work has an urgent message for readers and writers today.

The problem of "the color line," W.E.B. Du Bois's ever-present polemical theme, is at the core of this novel of sensual love, radical politics, and the quest for racial justice. Originally published by Harcourt Brace and Co. in 1928, "Dark Princess" was one of two novels written by Du Bois. Toward the end of his life he ranked it as his favorite of all his works.

For the fantastical storyline, heavy with propagandist overtones, Du Bois depicts 1920s America as a racist nation primed for radical protest and terrorism. Matthew Townes, the protagonist, is a medical student expelled because his race bars him from the required course in obstetrics in a white hospital. Self-exiled in Berlin after his political idealism is corrupted, Townes falls in love with Princess Kautilya, daughter of a maharajah, and joins the international team she heads in which people of color unite against white imperialism. Du Bois recounts their quest for liberation in a whites-only world that overwhelms their passionate love and separates them. Du Bois concludes the novel with the birth of their son--proclaimed as the Maharajah of Bwodpur and "Messenger and Messiah to all the Darker Worlds."

The reviewer for the "New York Herald Tribune" found "amidst much pure romance and preciosity of style there are rich deposits of straight sociology as well as] interesting and revealing reading for] the white reader who has yet few ways of looking into the many closed chambers of Negro life or of seeing into the dilemmas of the intellectual Negro mind and heart."