Writing, publishing, and marketing five politically engaged novels that appeared between 1899 and 1908, Sutton E. Griggs (1872-1933) was among the most prolific African American authors at the turn of the twentieth century. In contrast to his Northern contemporaries Paul Laurence Dunbar and Charles Chesnutt, Griggs, as W. E. B. Du Bois remarked, "spoke primarily to the Negro race," using his own Nashville-based publishing company to produce four of his novels. Griggs pastored Baptist churches in three Southern states and played a leading role in the influential but understudied National Baptist Convention. Until recently, little was known about the personal and professional life of this religious and community leader. Thus, critics could only contextualize his literary texts to a limited degree and were forced to speculate about how he published them. This literary biography, the first written about the author, draws extensively on primary sources and late nineteenth- and early twentieth-century periodicals, local and national, African American and white. A very different Sutton Griggs emerges from these materials-a dynamic figure who devoted himself to literature for a longer period and to a more profound extent than has ever been previously imagined but also someone who frequently found himself embroiled in controversy because of what he said in his writings and the means he used to publish them. The book challenges currently held notions about the audience for, and the content, production, and dissemination of politically engaged US black fiction, altering the perception of the African American literature and print culture of the period.

" Black on Black provides the first comprehensive analysis of the modern African American literary response to Africa, from W.E.B. Du Bois's The Souls of Black Folk to Alice Walker's The Color Purple. Combining cutting-edge theory, extensive historical and archival research, and close readings of individual texts, Gruesser reveals the diversity of the African American response to Countee Cullen's question, ""What is Africa to Me?"" John Gruesser uses the concept of Ethiopianism--the biblically inspired belief that black Americans would someday lead Africans and people of the diaspora to a bright future--to provide a framework for his study. Originating in the eighteenth century and inspiring religious and political movements throughout the 1800s, Ethiopianism dominated African American depictions of Africa in the first two decades of the twentieth century, particularly in the writings of Du Bois, Sutton Griggs, and Pauline Hopkins. Beginning with the Harlem Renaissance and continuing through the Italian invasion and occupation of Ethiopia, however, its influence on the portrayal of the continent slowly diminished. Ethiopianism's decline can first be seen in the work of writers closely associated with the New Negro Movement, including Alain Locke and Langston Hughes, and continued in the dramatic work of Shirley Graham, the novels of George Schuyler, and the poetry and prose of Melvin Tolson. The final rejection of Ethiopianism came after the dawning of the Cold War and roughly coincided with the advent of postcolonial Africa in works by authors such as Richard Wright, Lorraine Hansberry, and Alice Walker.

The essays explore the loopholes and retreats employed and exploited by African American polemicists, poets, novelists, slave narrators, playwrights, short story writers, essayists, editors, educators, historians, clubwomen, and autobiographers during the nineteenth century. The contributions use comparative, transnational, literary historical, cultural studies, and Foucauldian perspectives to examine how apparent weakness was turned into strength, and the machinery of oppression into the keys to liberation.

John Cullen Gruesser teaches English and American studies at Kean University (U.S.A).

Hanna Wallinger teaches American studies at Salburg University (Austria).

In "The Empire Abroad and the Empire at Home," John Cullen Gruesser establishes that African American writers at the turn of the twentieth century responded extensively and idiosyncratically to overseas expansion and its implications for domestic race relations. He contends that the work of these writers significantly informs not only African American literary studies but also U.S. political history.
Focusing on authors who explicitly connect the empire abroad and the empire at home ( James Weldon Johnson, Sutton Griggs, Pauline E. Hopkins, W.E.B. Du Bois, and others), Gruesser examines U.S. black participation in, support for, and resistance to expansion. Race consistently trumped empire for African American writers, who adopted positions based on the effects they believed expansion would have on blacks at home. Given the complexity of the debates over empire and rapidity with which events in the Caribbean and the Pacific changed in the late nineteenth and early twentieth centuries, it should come as no surprise that these authors often did not maintain fixed positions on imperialism. Their stances depended on several factors, including the foreign location, the presence or absence of African American soldiers within a particular text, the stage of the author's career, and a given text's relationship to specific generic and literary traditions.
No matter what their disposition was toward imperialism, the fact of U.S. expansion allowed and in many cases compelled black writers to grapple with empire. They often used texts about expansion to address the situation facing blacks at home during a period in which their citizenship rights, and their very existence, were increasingly in jeopardy.

In "The Empire Abroad and the Empire at Home," John Cullen Gruesser establishes that African American writers at the turn of the twentieth century responded extensively and idiosyncratically to overseas expansion and its implications for domestic race relations. He contends that the work of these writers significantly informs not only African American literary studies but also U.S. political history.
Focusing on authors who explicitly connect the empire abroad and the empire at home ( James Weldon Johnson, Sutton Griggs, Pauline E. Hopkins, W.E.B. Du Bois, and others), Gruesser examines U.S. black participation in, support for, and resistance to expansion. Race consistently trumped empire for African American writers, who adopted positions based on the effects they believed expansion would have on blacks at home. Given the complexity of the debates over empire and rapidity with which events in the Caribbean and the Pacific changed in the late nineteenth and early twentieth centuries, it should come as no surprise that these authors often did not maintain fixed positions on imperialism. Their stances depended on several factors, including the foreign location, the presence or absence of African American soldiers within a particular text, the stage of the author's career, and a given text's relationship to specific generic and literary traditions.
No matter what their disposition was toward imperialism, the fact of U.S. expansion allowed and in many cases compelled black writers to grapple with empire. They often used texts about expansion to address the situation facing blacks at home during a period in which their citizenship rights, and their very existence, were increasingly in jeopardy.

Confluences looks at the prospects for and the potential rewards of breaking down theoretical and disciplinary barriers that have tended to separate African American and postcolonial studies. John Cullen Gruesser's study emphasizes the confluences among three major theories that have emerged in literary and cultural studies in the past twenty-five years: postcolonialism, Henry Louis Gates Jr.'s Signifyin(g), and Paul Gilroy's black Atlantic. For readers who may not be well acquainted with one or more of the three theories, Gruesser provides concise introductions in the opening chapter. In addition, he urges those people working in postcolonial or African American literary studies to attempt to break down the boundaries that in recent years have come to isolate the two fields. Gruesser then devotes a chapter to each theory, examining one literary text that illustrates the value of the theoretical model, a second text that extends the model in a significant way, and a third text that raises one or more questions about the theory. His examples are drawn from the writings of Salman Rushdie, Jean Rhys, V. S. Naipaul, Walter Mosley, Pauline Hopkins, Toni Morrison, Harry Dean, Harriet Jacobs, and Alice Walker. Cautious not to conflate postcolonial and African American studies, Gruesser encourages critics to embrace the black Atlantic's emphases on movement through space (routes rather than roots) and intercultural connections and to expand and where appropriate to emend Gilroy's efforts to bridge the two fields.

Winner of the 2019 Patrick F. Quinn Award for the best book on Poe (awarded by the Poe Studies Association) Edgar Allan Poe and His Nineteenth-Century American Counterparts addresses Poe's connections with, critical assessments of, borrowings from, and effect on his literary peers. It situates Poe within his own time and place, paying particular attention to his interactions with, and impact on, figures such as Nathaniel Hawthorne, Walt Whitman, Herman Melville, Mark Twain, Harriet Jacobs, and Pauline Hopkins. John Cullen Gruesser rebuts myths that continue to cling to Poe, demonstrates Poe's ability to transform themes he encountered in the works of his literary contemporaries into great literature, and establishes the profound influence of Poe's invention of detective fiction on nineteenth-century American writers.

Between 1899 and 1908, five long works of fiction by the Nashville-based black Baptist minister Sutton E. Griggs appeared in print, making him the most prolific African American novelist at the turn of the twentieth century. Brought out by Griggs's own Orion Publishing Company in three distinct printings in 1905 and 1906, The Hindered Hand; or, the Reign of the Repressionist addresses the author's key themes of amalgamation, emigration, armed resistance, and US overseas expansion; includes a melodramatic love story; and features two of the most sensational scenes in early African American fiction-a harrowingly graphic lynching of an innocent black couple based on actual events and the elaboration of a plot to wipe out white Southerners by introducing yellow fever germs into the water supply. Written in response to Thomas Dixon's recently published race-baiting novel The Leopard's Spots, Griggs's book depicts the remnants of the old Southern planter class, the racial crisis threatening the South and the North, the social ferment of the time, the changing roles of women, and the thwarted aspirations of a trio of African American veterans following the war against Spain. This scholarly edition of the novel, providing newly discovered biographical information and copious historical context, makes a significant contribution to African American literary scholarship.

Confluences looks at the prospects for breaking down theoretical and disciplinary barriers that have tended to separate African American and postcolonial studies. John Cullen Gruesser emphasizes the confluences among three major theories of the past twenty-five years: postcolonialism, Henry Louis Gates Jr.'s Signifyin(g), and Paul Gilroy's black Atlantic. Gruesser then devotes a chapter to each theory, examining one literary text that illustrates the value of the theoretical model, a second text that extends the model in a significant way, and a third text that complicates the theory. His examples are drawn from the writings of Salman Rushdie, Jean Rhys, V. S. Naipaul, Walter Mosley, Pauline Hopkins, Toni Morrison, Harry Dean, Harriet Jacobs, and Alice Walker.

Winner of the 2019 Patrick F. Quinn Award for the best book on Poe (awarded by the Poe Studies Association) Edgar Allan Poe and His Nineteenth-Century American Counterparts addresses Poe's connections with, critical assessments of, borrowings from, and effect on his literary peers. It situates Poe within his own time and place, paying particular attention to his interactions with, and impact on, figures such as Nathaniel Hawthorne, Walt Whitman, Herman Melville, Mark Twain, Harriet Jacobs, and Pauline Hopkins. John Cullen Gruesser rebuts myths that continue to cling to Poe, demonstrates Poe's ability to transform themes he encountered in the works of his literary contemporaries into great literature, and establishes the profound influence of Poe's invention of detective fiction on nineteenth-century American writers.

Designed for both mystery lovers and professors who teach detective fiction, this text examines the history of the genre from 1841 through 1940, a period which spawned some of its greatest writers. Taken together, the stories provide a chronological and thematic survey through a crucial period of the genre's initial development. The volume includes stories by Edgar Allen Poe, Wilkie Collins, Mark Twain, Arthur Conan Doyle, Bret Harte, G. K. Chesterton, Mary Wilkins Freeman, Anna Katherine Green, Baroness Orzcy, Susan Glaspell, Carroll John Daly, Dashiell Hammett, Cornell Woolrich, Pauline Hopkins, Chester Himes, and Ralph Ellison.

Between 1899 and 1908, five long works of fiction by the Nashville-based black Baptist minister Sutton E. Griggs appeared in print, making him the most prolific African American novelist at the turn of the twentieth century. Brought out by Griggs's own Orion Publishing Company in three distinct printings in 1905 and 1906, The Hindered Hand; or, the Reign of the Repressionist addresses the author's key themes of amalgamation, emigration, armed resistance, and US overseas expansion; includes a melodramatic love story; and features two of the most sensational scenes in early African American fiction-a harrowingly graphic lynching of an innocent black couple based on actual events and the elaboration of a plot to wipe out white Southerners by introducing yellow fever germs into the water supply. Written in response to Thomas Dixon's recently published race-baiting novel The Leopard's Spots, Griggs's book depicts the remnants of the old Southern planter class, the racial crisis threatening the South and the North, the social ferment of the time, the changing roles of women, and the thwarted aspirations of a trio of African American veterans following the war against Spain. This scholarly edition of the novel, providing newly discovered biographical information and copious historical context, makes a significant contribution to African American literary scholarship.