"Mysticism, horror, and racial identity merge fluidly in this thrilling tale... The suspense is tangible and the final reveal will leave readers reeling"-Publishers Weekly, STARRED review From groundbreaking Black author Pauline Hopkins comes an uncanny example of classic horror, exploring identity, race, and spirituality When medical student Reuel Briggs reluctantly attends a performance by the beautiful singer Dianthe Lusk, he can't help but fall for her. The very next day, their paths cross again when Dianthe's train crashes. To bring her back from the brink of death, Reuel draws on an eerie power he can't quite name. Soon, the two are engaged, and Reuel sets off on an archeological expedition to Africa to offset his debts before the wedding. But, in Ethiopia, unexpected danger and terror force him to confront the truth about his lineage, his power, and the disturbing history that lives in his very blood. First serialized in Colored American Magazine in 1902, this classic fiction exemplifies Pauline Hopkins's incisive writing and interrogates issues of race, blood, and history that remain urgent today. This edition of Hopkins's classic horror novel is presented by the Horror Writers Association and introduced by award-winning author Nisi Shawl. Includes notes, biographical information about the author, discussion questions for classroom use, and suggested further reading.

"Of One Blood" is the last of four novels written by Pauline Hopkins. She is considered by some to be "the most prolific African-American woman writer and the most influential literary editor of the first decade of the twentieth century, though she is one of the lesser known literary figures of the much lauded Harlem Renaissance. "Of One Blood" first appeared in serial form in "Colored American Magazine" in the November and December 1902 and the January 1903 issues of the publication, during the four-year period that Hopkins served as its editor.

Hopkins tells the story of Reuel Briggs, a medical student who

couldn't care less about being black and appreciating African history, but finds himself in Ethiopia on an archeological trip. His motive is to raid the country of lost treasures -- which he does find in the ancient land. However, he discovers much more than he bargained for: the painful truth about blood, race, and the half of his history that was never told. Hopkins wrote the novel intending, in her own words, to "raise the stigma of degradation from [the Black] race." The title, "Of One Blood," refers to the biological kinship of all human beings.

Hagar's Daughter is Pauline Elizabeth Hopkins's first serial novel, published in the Boston-based Colored American Magazine (1901-1902). The novel itself features concealed and mistaken identities, dramatic revelations, and extraordinary plot twists. In Part 1, Maryland plantation heirs Hagar Sargeant and Ellis Enson fall in love, marry, and have a daughter. However, Ellis's covetous younger brother, St. Clair, claims that Hagar is of mixed-race ancestry, putting her and her infant in peril. When Ellis is presumed to be dead, St. Clair sells Hagar and her child into slavery, and they presumably die when Hagar, in despair, leaps into the Potomac River with her daughter. This is the backdrop for Part 2 (set twenty years later), which includes a high-profile murder trial, an abduction plot, and a steady succession of surprises as the young Black maid Venus Johnson assumes male clothing to solve a series of mysteries that are both current and decades-old. The appendices to this Broadview edition feature advertising for the original publication, other writing by Hopkins and her contemporaries, and reviews that situate the work within the popular literature and political culture of its time.

The Afrofuturist plot of Pauline E. Hopkins's Of One Blood (1902-03) weaves together a lost African city, bigamy, incest, murder, ancient prophecies, a thwarted leopard attack, racial passing, baby switching, mesmerism, and hauntings-both literal ghost hauntings and metaphoric hauntings from the sins of slavery. The Broadview Edition offers for the first time annotations and appendices that contextualize the novel in relation to magazines, Black feminism, travels to Africa, racial discourses, scientific and medical debates, and musical culture. The edition's introduction surveys current debates about Hopkins's textual borrowings of from other contemporary writings, and the appendices provide extensive materials on the novel's cultural, musical, and political contexts.

First published in May 1900, the Colored American Magazine provided a pioneering forum for black literary talent previously stifled by lack of encouragement and opportunity. Not only a prolific writer for the journal, Pauline Hopkins also served as one of its powerful editorial forces. This volume of her magazine novels, which appeared serially in the journal between March 1901 and November 1903, reveals Hopkins' commitment to fiction as a vehicle for social change. She weaves important political themes into the narrative formulas of nineteenth-century dime-store novels and story papers, which emphasize suspense, action, complex plotting, multiple and false identities, and the use of disguise. Offering both instruction and entertainment, Hopkins' novels also expose the limitations of popular American narrative forms when telling the stories of black characters.