View the Table of Contents
Read the Introduction.

"These complex works of aliterary defiance, a each incisively analyzed, add up to a genuinely mind-expanding collection."
--"Booklist"

"As intriguing as it is provocative, this volume requires us to probe the reasons why these texts or authors have been red-lined from the canons of both American literature and African American literature. Bravo to Jarrett and his all-star cast of contributors for helping us re-imagine our literary heritage in fresh and constructive ways!"
--Shelley Fisher Fishkin, Department of English, Stanford University

aThis fine volume stands out as an authoritative sampler of canon-defying literature...Well-organized, accessible, and free of entangling notes, this reader is a great choice for anyone interested in African American literature.a
--"Choice," Recommended

It is widely accepted that the canon of African American literature has racial realism at its core: African American protagonists, social settings, cultural symbols, and racial-political discourse. As a result, writings that are not preoccupied with race have long been invisible--unpublished, out of print, absent from libraries, rarely discussed among scholars, and omitted from anthologies.

However, some of our most celebrated African American authors--from Zora Neale Hurston and Richard Wright to James Baldwin and Toni Morrison--have resisted this canonical rule, even at the cost of critical dismissal and commercial failure. African American Literature Beyond Race revives this remarkable literary corpus, presenting sixteen short stories, novelettes, and excerpts of novels-from the postbellum nineteenth century to the latetwentieth century-that demonstrate this act of literary defiance. Each selection is paired with an original introduction by one of today's leading scholars of African American literature, including Hazel V. Carby, Gerald Early, Mae G. Henderson, George Hutchinson, Carla Peterson, Amritjit Singh, and Werner Sollors.

By casting African Americans in minor roles and marking the protagonists as racially white, neutral, or ambiguous, these works of fiction explore the thematic complexities of human identity, relations, and culture. At the same time, they force us to confront the basic question, "What is African American literature?"

Stories by: James Baldwin, Octavia E. Butler, Samuel R. Delany, Paul Laurence Dunbar, Frances Ellen Watkins Harper, Chester B. Himes, Zora Neale Hurston, Nella Larsen, Toni Morrison, Ann Petry, Wallace Thurman, Jean Toomer, Frank J. Webb, Richard Wright, and Frank Yerby.

Critical Introductions by: Hazel V. Carby, John Charles, Gerald Early, Hazel Arnett Ervin, Matthew Guterl, Mae G. Henderson, George B. Hutchinson, Gene Jarrett, Carla L. Peterson, Amritjit Singh, Werner Sollors, and Jeffrey Allen Tucker.

The definitive biography of a pivotal figure in American literary history A major poet, Paul Laurence Dunbar (1872–1906) was one of the first African American writers to garner international recognition in the wake of emancipation. In this definitive biography, the first full-scale life of Dunbar in half a century, Gene Andrew Jarrett offers a revelatory account of a writer whose Gilded Age celebrity as the “poet laureate of his race� hid the private struggles of a man who, in the words of his famous poem, felt like a “caged bird� that sings. Jarrett tells the fascinating story of how Dunbar, born during Reconstruction to formerly enslaved parents, excelled against all odds to become an accomplished and versatile artist. A prolific and successful poet, novelist, essayist, playwright, and Broadway librettist, he was also a friend of such luminaries as Frederick Douglass and Orville and Wilbur Wright. But while audiences across the United States and Europe flocked to enjoy his literary readings, Dunbar privately bemoaned shouldering the burden of race and catering to minstrel stereotypes to earn fame and money. Inspired by his parents’ survival of slavery, but also agitated by a turbulent public marriage, beholden to influential benefactors, and helpless against his widely reported bouts of tuberculosis and alcoholism, he came to regard his racial notoriety as a curse as well as a blessing before dying at the age of only thirty-three. Beautifully written, meticulously researched, and generously illustrated, this biography presents the richest, most detailed, and most nuanced portrait yet of Dunbar and his work, transforming how we understand the astonishing life and times of a central figure in American literary history.

View the Table of Contents
Read the Introduction.

"These complex works of aliterary defiance, a each incisively analyzed, add up to a genuinely mind-expanding collection."
--"Booklist"

"As intriguing as it is provocative, this volume requires us to probe the reasons why these texts or authors have been red-lined from the canons of both American literature and African American literature. Bravo to Jarrett and his all-star cast of contributors for helping us re-imagine our literary heritage in fresh and constructive ways!"
--Shelley Fisher Fishkin, Department of English, Stanford University

aThis fine volume stands out as an authoritative sampler of canon-defying literature...Well-organized, accessible, and free of entangling notes, this reader is a great choice for anyone interested in African American literature.a
--"Choice," Recommended

It is widely accepted that the canon of African American literature has racial realism at its core: African American protagonists, social settings, cultural symbols, and racial-political discourse. As a result, writings that are not preoccupied with race have long been invisible--unpublished, out of print, absent from libraries, rarely discussed among scholars, and omitted from anthologies.

However, some of our most celebrated African American authors--from Zora Neale Hurston and Richard Wright to James Baldwin and Toni Morrison--have resisted this canonical rule, even at the cost of critical dismissal and commercial failure. African American Literature Beyond Race revives this remarkable literary corpus, presenting sixteen short stories, novelettes, and excerpts of novels-from the postbellum nineteenth century to the latetwentieth century-that demonstrate this act of literary defiance. Each selection is paired with an original introduction by one of today's leading scholars of African American literature, including Hazel V. Carby, Gerald Early, Mae G. Henderson, George Hutchinson, Carla Peterson, Amritjit Singh, and Werner Sollors.

By casting African Americans in minor roles and marking the protagonists as racially white, neutral, or ambiguous, these works of fiction explore the thematic complexities of human identity, relations, and culture. At the same time, they force us to confront the basic question, "What is African American literature?"

Stories by: James Baldwin, Octavia E. Butler, Samuel R. Delany, Paul Laurence Dunbar, Frances Ellen Watkins Harper, Chester B. Himes, Zora Neale Hurston, Nella Larsen, Toni Morrison, Ann Petry, Wallace Thurman, Jean Toomer, Frank J. Webb, Richard Wright, and Frank Yerby.

Critical Introductions by: Hazel V. Carby, John Charles, Gerald Early, Hazel Arnett Ervin, Matthew Guterl, Mae G. Henderson, George B. Hutchinson, Gene Jarrett, Carla L. Peterson, Amritjit Singh, Werner Sollors, and Jeffrey Allen Tucker.

The political value of African American literature has long been a topic of great debate among American writers, both black and white, from Thomas Jefferson to Barack Obama. In his compelling new book, "Representing the Race," Gene Andrew Jarrett traces the genealogy of this topic in order to develop an innovative political history of African American literature. Jarrett examines texts of every sort--pamphlets, autobiographies, cultural criticism, poems, short stories, and novels--to parse the myths of authenticity, popular culture, nationalism, and militancy that have come to define African American political activism in recent decades. He argues that unless we show the diverse and complex ways that African American literature has transformed society, political myths will continue to limit our understanding of this intellectual tradition.

Cultural forums ranging from the printing press, schools, and conventions, to parlors, railroad cars, and courtrooms provide the backdrop to this African American literary history, while the foreground is replete with compelling stories, from the debate over racial genius in early American history and the intellectual culture of racial politics after slavery, to the tension between copyright law and free speech in contemporary African American culture, to the political audacity of Barack Obama's creative writing. Erudite yet accessible, Representing the Race is a bold explanation of what's at stake in continuing to politicize African American literature in the new millennium.

Deans and Truants Race and Realism in African American Literature Gene Andrew Jarrett ""Deans and Truants: Race and Realism in African American Literature" is a richly textured study of theoretical conceptions of the African American canon as well as primary and secondary sources."--"American Literature" "In "Deans and Truants" Gene Jarrett has inaugurated an entirely new approach to the subject of canon-formation in African American literature, insisting that we expand our definition of the tradition to include black authors who chose not to write about race and who, consequently, have often found their works uncollected and unanalyzed, if not severely critiqued. Jarrett's cogent and compelling argument is sure to generate debate and, ultimately, lead to a reconsideration of what, exactly, is 'African American' about African American literature. This is a very important book and marks the inaugural intervention of one of the major scholars and critics of African American literature of a new generation."--Henry Louis Gates, Jr., Harvard University "While challenging the standard notion of black literature, this readable, engaging work also provides insightful analyses of such understudied works as Morrison's short story 'Recitatif, ' Yerby's historical novel "The Foxes of Harrow," and Schuyler's satirical novel "Black No More.""--"Choice" "Selecting a wide range of writing, poetry, novels, short stories, satire, and criticism, Jarrett shows how the reception of certain authors and their texts has defined what is and is not considered African American literature to this day. . . . This book is well written and as nicely nuanced as the topic it addresses."--"Journal of American Studies" For a work to be considered African American literature, does it need to focus on black characters or political themes? Must it represent these within a specific stylistic range? Or is it enough for the author to be identified as African American? In "Deans and Truants," Gene Andrew Jarrett traces the shifting definitions of African American literature and the authors who wrote beyond those boundaries at the cost of critical dismissal and, at times, obscurity. From the late nineteenth century to the end of the twentieth, de facto deans--critics and authors as different as William Howells, Alain Locke, Richard Wright, and Amiri Baraka--prescribed the shifting parameters of realism and racial subject matter appropriate to authentic African American literature, while truant authors such as Paul Laurence Dunbar, George S. Schuyler, Frank Yerby, and Toni Morrison--perhaps the most celebrated African American author of the twentieth century--wrote literature anomalous to those standards. Gene Andrew Jarrett teaches English at the University of Maryland, College Park. He is the editor of "African American Literature Beyond Race: An Alternative Reader" and a coeditor of "The Complete Stories of Paul Laurence Dunbar." His articles have appeared in "PMLA," "Nineteenth-Century Literature," "Novel: A Forum on Fiction," and "Callaloo." 2006 232 pages 6 x 9 7 illus. ISBN 978-0-8122-3973-7 Cloth $55.00s 36.00 ISBN 978-0-8122-0235-9 Ebook $55.00s 36.00 World Rights Literature Short copy: For a work to be considered African American literature, does it need to focus on African American characters? Or is it enough for the author to be identified as African American? Jarrett traces the shifting definitions of African American literature and the authors who wrote beyond those boundaries at the cost of critical dismissal or obscurity.

When African American intellectuals announced the birth of the "New Negro" around the turn of the twentieth century, they were attempting through a bold act of renaming to change the way blacks were depicted and perceived in America. By challenging stereotypes of the Old Negro, and declaring that the New Negro was capable of high achievement, black writers tried to revolutionize how whites viewed blacks--and how blacks viewed themselves. Nothing less than a strategy to re-create the public face of "the race," the New Negro became a dominant figure of racial uplift between Reconstruction and World War II, as well as a central idea of the Harlem, or New Negro, Renaissance. Edited by Henry Louis Gates, Jr., and Gene Andrew Jarrett, "The New Negro" collects more than one hundred canonical and lesser-known essays published between 1892 and 1938 that examine the issues of race and representation in African American culture.

These readings--by writers including W.E.B. Du Bois, Paul Laurence Dunbar, Alain Locke, Carl Van Vechten, Zora Neale Hurston, and Richard Wright--discuss the trope of the New Negro, and the milieu in which this figure existed, from almost every conceivable angle. Political essays are joined by essays on African American fiction, poetry, drama, music, painting, and sculpture. More than fascinating historical documents, these essays remain essential to the way African American identity and history are still understood today.

The definitive biography of a pivotal figure in American literary history A major poet, Paul Laurence Dunbar (1872–1906) was one of the first African American writers to garner international recognition in the wake of emancipation. In this definitive biography, the first full-scale life of Dunbar in half a century, Gene Andrew Jarrett offers a revelatory account of a writer whose Gilded Age celebrity as the “poet laureate of his race� hid the private struggles of a man who, in the words of his famous poem, felt like a “caged bird� that sings. Jarrett tells the fascinating story of how Dunbar, born during Reconstruction to formerly enslaved parents, excelled against all odds to become an accomplished and versatile artist. A prolific and successful poet, novelist, essayist, playwright, and Broadway librettist, he was also a friend of such luminaries as Frederick Douglass and Orville and Wilbur Wright. But while audiences across the United States and Europe flocked to enjoy his literary readings, Dunbar privately bemoaned shouldering the burden of race and catering to minstrel stereotypes to earn fame and money. Inspired by his parents’ survival of slavery, but also agitated by a turbulent public marriage, beholden to influential benefactors, and helpless against his widely reported bouts of tuberculosis and alcoholism, he came to regard his racial notoriety as a curse as well as a blessing before dying at the age of only thirty-three. Beautifully written, meticulously researched, and generously illustrated, this biography presents the richest, most detailed, and most nuanced portrait yet of Dunbar and his work, transforming how we understand the astonishing life and times of a central figure in American literary history.

The political value of African American literature has long been a topic of great debate among American writers, both black and white, from Thomas Jefferson to Barack Obama. In his compelling new book, "Representing the Race," Gene Andrew Jarrett traces the genealogy of this topic in order to develop an innovative political history of African American literature. Jarrett examines texts of every sort--pamphlets, autobiographies, cultural criticism, poems, short stories, and novels--to parse the myths of authenticity, popular culture, nationalism, and militancy that have come to define African American political activism in recent decades. He argues that unless we show the diverse and complex ways that African American literature has transformed society, political myths will continue to limit our understanding of this intellectual tradition.

Cultural forums ranging from the printing press, schools, and conventions, to parlors, railroad cars, and courtrooms provide the backdrop to this African American literary history, while the foreground is replete with compelling stories, from the debate over racial genius in early American history and the intellectual culture of racial politics after slavery, to the tension between copyright law and free speech in contemporary African American culture, to the political audacity of Barack Obama's creative writing. Erudite yet accessible, Representing the Race is a bold explanation of what's at stake in continuing to politicize African American literature in the new millennium.

At long last, critics, scholars, and lovers of fiction can experience the full range and imaginative powers of the collected novels of Paul Laurence Dunbar (1872–1906). In these four novels, readers can explore the characters, landscape, atmosphere, and visionary sensibilities of this preeminent African American writer. In the prime of his literary career, between 1898 and 1902, Dunbar published The Uncalled, The Love of Landry, The Fanatics, and The Sport of the Gods. Despite widespread critical interest, the novels have been largely subordinated to his short stories and poetry. The Collected Novels of Paul Laurence Dunbar redresses this imbalance by showing that the novels are also reflections of his exceptional literary talent. While correcting and standardizing the texts, the editors describe the major forms and themes of the novels, putting them in the proper contexts of Dunbar’s creativity, his professional career, and his place in American literary history. Each novel explores, in varying degrees, the issues of race, class, politics, region, morality, and spirituality and challenges the assumption that black novelists should cast only blacks as main characters and as messengers of racial-political unity. The Collected Novels of Paul Laurence Dunbar presents all four novels under one cover for the first time, allowing readers to assess why he was such a seminal influence on the twentieth century African American writers who followed him into the American canon. The Collected Novels of Paul Laurence Dunbar will interest students, teachers, scholars, and general readers for generations to come.

At long last, critics, scholars, and lovers of fiction can experience the full range and imaginative powers of the collected novels of Paul Laurence Dunbar (1872-1906). In these four novels, readers can explore the characters, landscape, atmosphere, and visionary sensibilities of this preeminent African American writer.
In the prime of his literary career, between 1898 and 1902, Dunbar published "The Uncalled, ""The Love of Landry," "The Fanatics," and "The Sport of the Gods." Despite widespread critical interest, the novels have been largely subordinated to his short stories and poetry. "The Collected Novels of Paul Laurence Dunbar" redresses this imbalance by showing that the novels are also reflections of his exceptional literary talent. While correcting and standardizing the texts, the editors describe the major forms and themes of the novels, putting them in the proper contexts of Dunbar's creativity, his professional career, and his place in American literary history. Each novel explores, in varying degrees, the issues of race, class, politics, region, morality, and spirituality and challenges the assumption that black novelists should cast only blacks as main characters and as messengers of racial-political unity.
"The Collected Novels of Paul Laurence Dunbar "presents all four novels under one cover for the first time, allowing readers to to assess why he was such a seminal influence on the twentieth century African American writers who followed him into the American canon. "The Collected Novels of Paul Laurence Dunbar "will interest students, teachers, scholars, and general readers for generations to come.

Claude McKay (1889-1948) was one of the most prolific and sophisticated African American writers of the early twentieth century. A Jamaican-born author of poetry, short stories, novels, and nonfiction, McKay has often been associated with the ""New Negro"" or Harlem Renaissance, a movement of African American art, culture, and intellectualism between World War I and the Great Depression. But his relationship to the movement was complex. Literally absent from Harlem during the Renaissance, McKay devoted most of his time to traveling through Europe, Russia, and Africa during the 1920s and 1930s. His active participation in Communist groups and the radical Left also encouraged certain opinions on race and class that strained his relationship to the Harlem Renaissance and its black intelligentsia. In his 1937 autobiography, A Long Way from Home, McKay explains what it means to be a black ""rebel sojourner"" and presents one of the first unflattering, yet informative, exposes of the Harlem Renaissance. Reprinted here with a critical introduction by Gene Andrew Jarrett, this book will challenge readers to rethink McKay's articulation of identity, art, race, and politics and situate these topics in terms of his oeuvre and his literary contemporaries between the World Wars.