In this volume, Lovalerie King and Shirley Moody-Turner have compiled a collection of essays that offer access to some of the most innovative contemporary black fiction while addressing important issues in current African American literary studies. Distinguished scholars Houston Baker, Trudier Harris, Darryl Dickson-Carr, and Maryemma Graham join writers and younger scholars to explore the work of Toni Morrison, Edward P. Jones, Trey Ellis, Paul Beatty, Mat Johnson, Kyle Baker, Danzy Senna, Nikki Turner, and many others. The collection is bracketed by a foreword by novelist and graphic artist Mat Johnson, one of the most exciting and innovative contemporary African American writers, and an afterword by Alice Randall, author of the controversial parody The Wind Done Gone. Together, King and Moody-Turner make the case that diversity, innovation, and canon expansion are essential to maintaining the vitality of African American literary studies.

Zora Neale Hurston, Richard Wright, James Baldwin, and Chester Himes have all enlightened mainstream (white) audiences about their race and culture. Focusing on fiction and non-fiction produced between the Harlem Renaissance and the Black Arts Movement, Eve Dunbar's important book, Black Regions of the Imagination examines how these African American writers-who lived and travelled outside the United States-both document and re-imagine their homegrown racial experiences within a worldly framework. From Hurston's participant-observational accounts and Wrights' travel writing to Baldwin's Another Country and Himes' detective fiction, these writers helped develop the concept of a region of blackness that resists boundaries of genre.

The volume explores 1930s African American writing to examine Black life, culture, and politics to document the ways Black artists and everyday people managed the Great Depression's economic impact on the creative and the social. Essays engage iconic figures such as Sterling Brown, Langston Hughes, Zora Neale Hurston, Dorothy West, and Richard Wright as well as understudied writers such as Arna Bontemps and Marita Bonner, Henry Lee Moon, and Roi Ottley. This book demonstrates the significance of the New Deal's Works Progress Administration (WPA), the Communist Party of the United States (CPUSA) and Black literary circles in the absence of white patronage. By featuring novels, poetry, short fiction, and drama alongside guidebooks, photographs, and print culture, African American Literature in Transition 1930-1940 provides evidence of the literary culture created by Black writers and readers during a period of economic precarity, expanded activism for social justice, and urgent internationalism.

In this volume, Lovalerie King and Shirley Moody-Turner have compiled a collection of essays that offer access to some of the most innovative contemporary black fiction while addressing important issues in current African American literary studies. Distinguished scholars Houston Baker, Trudier Harris, Darryl Dickson-Carr, and Maryemma Graham join writers and younger scholars to explore the work of Toni Morrison, Edward P. Jones, Trey Ellis, Paul Beatty, Mat Johnson, Kyle Baker, Danzy Senna, Nikki Turner, and many others. The collection is bracketed by a foreword by novelist and graphic artist Mat Johnson, one of the most exciting and innovative contemporary African American writers, and an afterword by Alice Randall, author of the controversial parody The Wind Done Gone. Together, King and Moody-Turner make the case that diversity, innovation, and canon expansion are essential to maintaining the vitality of African American literary studies.

Zora Neale Hurston, Richard Wright, James Baldwin, and Chester Himes were all pressured by critics and publishers to enlighten mainstream (white) audiences about race and African American culture. Focusing on fiction and non-fiction they produced between the Harlem Renaissance and the Black Arts Movement, Eve DunbarOCOs important book, "Black Regions of the Imagination," examines how these African American writersOCowho lived and traveled outside the United StatesOCoboth document and re-imagine their OC homegrownOCO racial experiences within a worldly framework.

From HurstonOCOs participant-observational accounts and WrightOCOs travel writing to BaldwinOCOs "Another Country" and HimesOCO detective fiction, these writers helped develop the concept of a OC regionOCO of blackness that resists boundaries of genre and geography. Each writer representsOCoand signifiesOCoblackness in new ways and within the larger context of the world. As they negotiated issues of OC belonging, OCO these writers were more critical of social segregation in America as well as increasingly resistant to their expected roles as cultural OC translators.OCOa

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