When Black Culture and Black Consciousness first appeared thirty years ago, it marked a revolution in our understanding of African American history. Contrary to prevailing ideas at the time, which held that African culture disappeared quickly under slavery and that black Americans had little group pride, history, or cohesiveness, Levine uncovered a cultural treasure trove, illuminating a rich and complex African American oral tradition, including songs, proverbs, jokes, folktales, and long narrative poems called toasts--work that dated from before and after emancipation. The fact that these ideas and sources seem so commonplace now is in large part due this book and the scholarship that followed in its wake. A landmark work that was part of the "cultural turn" in American history, Black Culture and Black Consciousness profoundly influenced an entire generation of historians and continues to be read and taught. For this anniversary reissue, Levine wrote a new preface reflecting on the writing of the book and its place within intellectual trends in African American and American cultural history.
"Must be read by all who would understand the Afro-American experience and American culture in general."
--Eugene D. Genovese
"Through an exhaustive investigation of black songs, folk tales, proverbs, aphorisms, verbal games and the long narrative oral poems known as 'toasts, ' Levine argues that the value system of Afro-Americans can only be understood through an analysis of black culture.... His work ranks among the best books written on the Afro-American experience in recent years."
--Al-Tony Gilmore, The Washington Post

These fourteen essays cover American history, historiography, aspects of black culture, and American popular culture (in the Great Depression). It is a collection of stimulating, original essays that continually offer fresh insights into the black experience and culture in general in America.

In response to recent books attacking the contemporary university and blaming educators for a decline in American culture, the author argues that the opening up of American education and of a changing society are inextricably linked.

When Black Culture and Black Consciousness first appeared thirty years ago, it marked a revolution in our understanding of African American history. Contrary to prevailing ideas at the time, which held that African culture disappeared quickly under slavery and that black Americans had little group pride, history, or cohesiveness, Levine uncovered a cultural treasure trove, illuminating a rich and complex African American oral tradition, including songs, proverbs, jokes, folktales, and long narrative poems called toasts--work that dated from before and after emancipation. The fact that these ideas and sources seem so commonplace now is in large part due this book and the scholarship that followed in its wake. A landmark work that was part of the "cultural turn" in American history, Black Culture and Black Consciousness profoundly influenced an entire generation of historians and continues to be read and taught. For this anniversary reissue, Levine wrote a new preface reflecting on the writing of the book and its place within intellectual trends in African American and American cultural history.
"Must be read by all who would understand the Afro-American experience and American culture in general."
--Eugene D. Genovese
"Through an exhaustive investigation of black songs, folk tales, proverbs, aphorisms, verbal games and the long narrative oral poems known as 'toasts, ' Levine argues that the value system of Afro-Americans can only be understood through an analysis of black culture.... His work ranks among the best books written on the Afro-American experience in recent years."
--Al-Tony Gilmore, The Washington Post

Defender of the Faith offers a reinterpretation of William Jennings Bryan in his last years as an unchanging Progressive whose roots were deeply embedded in agrarian populism. It changes the standard picture of Bryan in his final years as that of a crusader for social and economic reform sadly transformed into a reactionary champion of anachronistic rural evangelism, cheap moralistic panaceas, and Florida real estate. He pleaded for for progressive labor laws, liberal taxes, government aid to farmers, public ownership of railroads, telegraphs, and telephones, federal development of water resources, minimum wages for labor, and other advanced causes.

In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are. For most of the nineteenth century, a wide variety of expressive forms-Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow-enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America-housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy-now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in concert halls, opera houses, and museums. A growing chasm between "serious" and "popular," between "high" and "low" culture came to dominate America's expressive arts. "If there is a tragedy in this development," Lawrence Levine comments, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value and importance of the popular art forms that were all around them. Too many of those who considered themselves educated and cultured lost for a significant period-and many have still not regained-their ability to discriminate independently, to sort things out for themselves and understand that simply because a form of expressive culture was widely accessible and highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit." In this innovative historical exploration, Levine not only traces the emergence of such familiar categories as highbrow and lowbrow at the turn of the century, but helps us to understand more clearly both the process of cultural change and the nature of culture in American society.