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简介：Summary: Publisher Summary 1 This fresh approach to Faulkner’s canon examines his fiction in relation to other writers of the South whose works echo but also supplement, revise, respond to, and even correct his depictions of the South. Whether working at the same time or two generations after Faulkner, these writers tackle similar issues—the liberal white male, the southern lady, African-Americans, and the nonaristocrat.       From Ellen Glasgow and Zora Neale Hurston to Ernest Gaines, Toni Morrison, and new writers like Elizabeth Dewberry and Tim Gautreaux, many southern writers have used the same tropes, plots, and archetypes as Faulkner, to different effect. Margaret Bauer argues that they seem to have understood more quickly than the critics that Faulkner was only one voice of one part of the South and that there were more stories to tell and more people who could tell them.       Using a variety of critical techniques, Bauer offers a new avenue toward understanding the literary response to southern history. Among the most important contributions of this book is its re-examination of Faulkner's white male liberal prototype, who feels powerless to effect change and relieve the oppression of African-Americans and women in the South. Viewing such a character from the point of view of the oppressed illuminates the cowardice of these privileged men, who were previously lauded for their liberal consciousness or sympathized with for their frustration over their impotence. Bauer also offers a thorough reading of the main body of Ernest Gaines’s canon.    

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简介：Summary: Publisher Summary 1 This exploration of Zora Neale Hurston's life and work draws on a wealth of newly discovered information and manuscripts that bring new dimensions of her writing to light.   Publisher Summary 2 "Croft has done a skillful job chronicling and organizing the life and works of an extraordinary writer. Recommended. Upper-division undergraduates and graduate students." "Plant...adds new dimension to the body of biographical literature already published, earnestly portraying Hurston's vitality and spirituality, characteristics that enabled her to achieve innumerable accomplishments...An inspiring read, recommended for all libraries." Zora Neale Hurston is best known for the landmark novel. Their Eyes Were Watching God, which recently returned to the bestseller list in the wake of an acclaimed television adaptation. But no understanding of Hurston is complete without considering all the forms of her work---including her extraordinary contributions as a folklorist---in light of the treasure trove of newly discovered information, texts, and film footage. "The Inside Light": New Critical Essays on Zora Neale Hurston caps a decade of resurgent popularity and critical interest in Hurston to offer the most insightful critical analysis of her work to date. Encompassing all of Hurston's writings---fiction, folklore manuscripts, drama, and correspondence---it fully reaffirms the legacy of this phenomenal writer, whom The Color Purple's Alice Walker called "A Genius of the South." "The Inside Light" offers 20 critical essays covering the breadth of Hurston's writing, including her poetry, which up to now has received little attention. Essays throughout are informed by revealing new research, previously unseen manuscripts, and even film clips of Hurston. The book also focuses on aspects of Hurston's life and work that remain controversial, including her stance on desegregation, her relationships with Charlotte Mason, Langston Hughes, and Richard Wright, and the veracity of her autobiography, Dust Tracks on a Road.   Publisher Summary 3 In this collection of 20 essays, new and established Hurston scholars simultaneously celebrate Hurston's life and achievements, and question her motivations and choices. Drawing on recently discovered manuscripts and film clips of Hurston, they consider not only her fiction, but also her plays and dramatics works, poetry, correspondence, and her contribution as a folklorist. Also discussed are aspects of her life and work that are still controversial, such as her stance on desegregation, her relationships with other African American literary giants of the period, and the veracity of her autobiography. Subjects include Hurston and the Hollywood studio narrative culture during her time, and the recent made-for-television movie of Hurston's novel Their Eyes Were Watching God. Plant is chair of the Department of African American Studies at the University of South Florida. Annotation 漏2010 Book News, Inc., Portland, OR (booknews.com)  

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简介：Born of African rhythms, the spiritual "call and response," and other American musical traditions, jazz was by the 1920s the dominant influence on this country's popular music. Writers of the Harlem Renaissance (Langston Hughes, Claude McKay, Zora Neale Hurston) and the "Lost Generation" (Malcolm Cowley, F. Scott Fitzgerald, and Gertrude Stein), along with many other Americans celebrated it--both as an expression of black culture and as a symbol of rebellion against American society. But an equal number railed against it. Whites were shocked by its raw emotion and sexuality, and blacks considered it "devil's music" and criticized it for casting a negative light on the black community. In this illuminating work, Kathy Ogren places this controversy in the social and cultural context of 1920s America and sheds new light on jazz's impact on the nation as she traces its dissemination from the honky-tonks of New Orleans, New York, and Chicago, to the clubs and cabarets of such places as Kansas City and Los Angeles, and further to the airwaves. Ogren argues that certain characteristics of jazz, notably the participatory nature of the music, its unusual rhythms and emphasis, gave it a special resonance for a society undergoing rapid change. Those who resisted the changes criticized the new music; those who accepted them embraced jazz. In the words of conductor Leopold Stowkowski, "Jazz [had] come to stay because it [was] an expression of the times, of the breathless, energetic, superactive times in which we [were] living, it [was] useless to fight against it." Numerous other factors contributed to the growth of jazz as a popular music during the 1920s. The closing of the Storyville section of New Orleans in 1917 was a signal to many jazz greats to move north and west in search of new homes for their music. Ogren follows them to such places as Chicago, New York, and San Francisco, and, using the musicians' own words as often as possible, tells of their experiences in the clubs and cabarets. Prohibition, ushered in by the Volstead Act of 1919, sent people out in droves to gang-controlled speak-easies, many of which provided jazz entertainment. And the 1920s economic boom, which made music readily available through radio and the phonograph record, created an even larger audience for the new music. But Ogren maintains that jazz itself, through its syncopated beat, improvisation, and blue tonalities, spoke to millions. Based on print media, secondary sources, biographies and autobiographies, and making extensive use of oral histories, The Jazz Revolution offers provocative insights into both early jazz and American culture.

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简介：Cross-Rhythms investigates the literary uses and effects of blues and jazz in African-American literature of the twentieth century. Texts by James Baldwin, Ralph Ellison, Langston Hughes, Zora Neale Hurston, Gayl Jones, Toni Morrison and Ishmael Reed variously adopt or are consciously informed by a jazz aesthetic; this aesthetic becomes part of a strategy of ethnic identification and provides a medium with which to consider the legacy of trauma in African-American history. These diverse writers are all thoroughly immersed in a socio-cultural context and a literary aesthetic that embodies shifting conceptions of ethnic identity across the twentieth century. The emergence of blues and jazz is, likewise, a crucial product of, as well as catalyst for, this context, and in their own aesthetic explorations of notions of ethnicity these writers consciously engage with this musical milieu. By examining the highly varied manifestations of a jazz aesthetic as possibly the fundamental common denominator which links these writers, this study attempts to identify an underlying unifying principle. As the different writers write against essentializing or organic categories of race, the very fact of a shared engagement with jazz sensibilities in their work redefines the basis of African-American communal identity. - Publisher.

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简介：Michaels contends that the aesthetic movement of modernism and the social movement of nativism came together in the 1920s in their commitment to resolve the meaning of identity - linguistic, national, cultural, and racial. Just as the Johnson Immigration act of 1924, which excluded aliens, and the Indian Citizenship Act of the same year, which honored the truly native, reconceptualized national identity, so the major texts of American writers such as Cather, Faulkner, Hurston, and Williams reinvented identity as an object of pathos - something that can be lost or found, defended or betrayed. Our America is both a history and a critique of this invention, tracing its development from the white supremacism of the Progressive period through the cultural pluralism of the Twenties. Michaels鈥檚 sustained rereading of texts of the period - the canonical, the popular, and the less familiar - exposes recurring concerns such as the reconception of the image of the Indian as a symbol of racial purity and national origins, the relation between WWI and race, contradictory appeals to the family as model for the nation, and anxieties about reproduction that subliminally tie whiteness and national identity to incest, sterility, and impotence.

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简介："This book provides a historical context for the recent resurgence of racial division by tracing the path of the color line as it appears in the narrative writings of African-Americans in the nineteenth and twentieth centuries. In readings of slave narratives, "passing novels," and the writings of Charles Chesnutt and Zora Neale Hurston, the author asks: What is the work of division? How does division work?" "The history of the color line in the United States is coeval with that of the nation. The author suggests that throughout this history, the color line has not functioned simply to name biological or cultural difference, but more important, it has served as a principle of division, classification, and order." "This book seeks not only to understand, but also to bring critical pressure on the interpretations, practices, and assumptions that correspond to and buttress representations of racial difference."--BOOK JACKET.

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简介：The modernist avant-garde used manifestos to outline their ideas, cultural programs and political agendas. Yet the manifesto, as a document of revolutionary change and a formative genre of modernism, has heretofore received little critical attention. This study reappraises the central role of manifestos in shaping the modernist movement by investigating twentieth-century manifestos from Europe and the Black Atlantic. Manifestos by writers from the imperial metropolis and the colonial 'periphery' drew very different emphases in their recasting of histories and experiences of modernity. Laura Winkiel examines archival materials as well as canonical texts to analyse how Sylvia Pankhurst, Virginia Woolf, Mina Loy, Wyndham Lewis, Nancy Cunard, C. L. R. James, W. E. B. Du Bois, Zora Neale Hurston, Aim猫 C猫saire and others presented their modernist projects. This new focus on manifestos in their geographical and historical context allows for a revision of modernism that emphasizes its cross-cultural aspects.

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简介：Summary: Publisher Summary 1 Beginning with a subtle and persuasive analysis of the cultural context, Farebrother examines collage in modernist and Harlem Renaissance figurative art and unearths the collage sensibility attendant in Franz Boas's anthropology. This strategy makes explicit the formal choices of Harlem Renaissance writers by examining them in light of African American vernacular culture and early twentieth-century discourses of anthropology, cultural nationalism and international modernism. At the same time, attention to the politics of form in such texts as Toomer's Cane, Locke's The New Negro and selected works by Hurston reveals that the production of analogies, juxtapositions, frictions and distinctions on the page has aesthetic, historical and political implications. Why did these African American writers adopt collage form during the Harlem Renaissance? What did it allow them to articulate? These are among the questions Farebrother poses as she strives for a middle ground between critics who view the Harlem Renaissance as a distinctive, and necessarily subversive, kind of modernism and those who foreground the cooperative nature of interracial creative work during the period. A key feature of her project is her exploration of neglected connections between Euro-American modernism and the Harlem Renaissance, a journey she negotiates while never losing sight of the particularity of African American experience. Ambitious and wide-ranging, Rachel Farebrother's book offers us a fresh lens through which to view this crucial moment in American culture.   Publisher Summary 2 Farebrother (American studies, U. of Swansea, Wales) analyzes historical, aesthetic, and political aspects of juxtaposition and stylistic incongruity deployed by Harlem Renaissance writers Alain Locke, Zora Neale Hurston, and Jean Toomer. Other scholars have noted this collage aesthetic in the journal The New Negro, where pages combined text and visual art, but she finds the same pattern within pure text as well. Among her topics are Boasian anthropology and the Harlem Renaissance, culture citizenship in The New Negro, Toomer's Cane, Hurston's cross-cultural aesthetic, and her textual synthesis in Jonah's Gourd Vine and Moses, Man of the Mountain. Annotation 漏2010 Book News, Inc., Portland, OR (booknews.com)  

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简介：Includes writings by Washington Irving, James Kirke Paulding, Frances Trollope, Fanny Kemble, Philip Hone, Charles Dickens, Henry David Thoreau, Nathaniel Parker Willis, Edgar Allan Poe, James Fenimore Cooper, Margaret Fuller, George G. Foster, Grant Thorburn, Walt Whitman, Herman Melville, George Templeton Strong, Frederick Law Olmsted, Ernest Duvergier de Hauranne, Fanny Fern, Mark Twain, James D. McCabe, Wong Chin Foo, Jose Marti, William Dean Howells, Jacob Riis, Stephen Crane, Abraham Gahan, Theodore Dreiser, George W. Plunkett and William L. Riorden, Maxim Gorky, Henry James, O. Henry, James Weldon Johnson, James Huneker, Sara Teasdale, Djuna Barnes, Edna St. Vincent Millay, Willa Cather, Claude McKay, Marianne Moore, Paul Rosenfeld, Edmund Wilson, Vladimir Mayakovsky, Hart Crane, Stephen Graham, Al Smith, Helen Keller, Paul Morand, Lincoln Steffens, Dawn Powell, Louis-Ferdinand Celine, Christopher Morley, F. Scott Fitzgerald, Edith Wharton, Thomas Wolfe, Damon Runyon, Henry Miller, Charles Reznikoff, A.J. Liebling, Langston Hughes, Elizabeth Bishop, John McNulty, Irwin Shaw, Mary McCarthy, Zora Neale Hurston, Red Smith, David Schubert, Weldon Kees, E.B. White, Bernard Malamud, Anzia Yezierska, William Carlos Williams, Malcolm Cowley, Alfred Kazin, Joseph Mitchell, William S. Burroughs, Bernardo Vega, Frank O'Hara, Loren Eiseley, Robert Moses, John Cheever, Ned Rorem, Jane Jacobs, James Merrill, Edwin Denby, Amiri Baraka (LeRoi Jones), George Oppen, James Baldwin, Harvey Shapiro, Gay Talese, Louis Auchincloss, Mario Puzo, Tom Wolfe, Joan Didion, Isaac Bashevis Singer, Jimmy Cannon, James Schuyler, Allen Ginsberg, Elizabeth Hardwick, Lewis Mumford, Kate Simon, Edward Rivera, Joyce Johnson, Lionel Abel, E.L. Doctorow, Ralph Ellison, Oscar Hijuelos, and Vivian Gornick.

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简介：This is the first comprehensive historical analysis of how black music and musicians have been represented in the fiction of African American writers. It also examines how music and musicians in fiction have exemplified the sensibilities of African Americans and provided paradigms for an African American literary tradition. The fictional representation of African American music by black authors is traced from the nineteenth century (William Wells Brown, Martin Delany, Pauline E. Hopkins, Paul Laurence Dunbar) through the early twentieth century and the Harlem Renaissance (James Weldon Johnson, Langston Hughes, Claude McKay, Zora Neale Hurston) to the 1940s and 50s (Richard Wright, Ann Petry, James Baldwin, Ralph Ellison) and the 1960s and the Black Arts Movement (Margaret Walker, William Melvin Kelley, Leroi Jones/Amiri Baraka, Henry Dumas). In the century between Brown and Baraka, the representation of music in black fiction went through a dramatic metamorphosis. Music occupied a representative role in African American culture from which writers drew ideas and inspiration. The music provided a way out of a limited situation by offering a viable option to the strictures of racism. Individuals who overcome these limitations then become role models in the struggle toward equality. African American musical forms-for both artist and audience-also offerd a way of looking at the world, survival, and resistance. The black musician became a ritual leader. This study delineates how black writers have captured the spirit of the music that played such a pivotal role in African American culture. (Ph.D. dissertation, State University of New York at Stony Brook, 1993; revised with new preface and index)

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简介：Arna Bontemps -- Sterling A. Brown -- Countee Cullen -- Jessie Redmon Fauset -- Rudolph Fisher -- Langston Hughes -- Zora Neale Hurston -- Nella Larsen -- Claude McKay, Wallace Thurman -- Jean Toomer -- Walter White -- Richard Wright.

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简介：In A Genealogy of Literary Multiculturalism, Christopher Douglas uncovers the largely unacknowledged role played by ideas from sociology and anthropology in nourishing the politics and forms of minority writers from diverse backgrounds. Douglas divides the history of multicultural writing in the United States into three periods. The first, which spans the 1920s and 1930s, features minority writers such as Zora Neale Hurston and D'Arcy McNickle. The second period, from 1940 to the mid-1960s, was a time of assimilation and integration, as seen in the work of authors such as Richard Wright, Jade Snow Wong, John Okada, and Ralph Ellison. The third period focuses on the writers we associate with contemporary literary multiculturalism, including Toni Morrison, N. Scott Momaday, Frank Chin, Ishmael Reed, and Gloria Anzald煤a. Book jacket.

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简介："Women played a central role in literary modernism, theorizing, debating, writing, and publishing the critical and imaginative work that resulted in a new literary culture during the early twentieth century. This volume provides a thorough overview of the main genres, the important issues, and the key figures in women's writing during the years 1890-1945. The essays treat the work of Woolf, Stein, Cather, H. D. Barnes, Hurston, and many others in detail; they also explore women's salons, little magazines, activism, photography, film criticism, and dance. Written especially for this Companion, these lively essays introduce students and scholars to the vibrant field of women's modernism"--

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简介：Includes works by James Joyce, Kate Chopin, Lee K. Abbott, Chinua Achebe, Julia Alvarez, Sherwood Anderson, Guillaume Apollinaire, Margaret Atwood, Isaac Babel, James Baldwin, Toni Cade Bambara, Ann Beattie, Ambrose Bierce, Heinrich Boll, Jorge Luis Borges, Kay Boyle, Robert Olen Butler, Hortense Calisher, Raymond Carver, Willa Cather, John Cheever, Anton Chekhov, Sandra Cisneros, Colette, Julio Cortazar, Stephen Crane, Isak Dinesen, Ralph Ellison, Louise Erdrich, William Faulkner, F. Scott Fitzgerald, Carlos Fuentes, Gabriel Garcia Marquez, Charlotte Perkins Gilman, Gail Godwin, Nadine Gordimer, Nathaniel Hawthorne, Ernest Hemingway, Zora Neale Hurston, Shirley Jackson, Franz Kafka, Jamaica Kincaid, D.H. Lawrence, Ursula K. LeGuin, Doris Lessing, Bernard Malamud, Thomas Mann, Katherine Mansfield, Bobbie Ann Mason, Guy de Maupassant, Yukio Mishima, Alice Munro, Joyce Carol Oates, Tim O'Brien, Flannery O'Connor, Frank O'Connor, Tillie Olsen, Cynthia Ozick, Dorothy Parker, I.L. Peretz, Luigi Pirandello, Edgar Allan Poe, Katherine Anne Porter, Leslie Marmon Silko, Isaac Bashevis Singer, Amy Tan, James Thurber, John Updike, Alice Walker, Eudora Welty, Edith Wharton, John Edgar Wideman, William Carlos Williams, Virginia Woolf, Richard Wright, Leo Tolstoy, Elizabeth Bowen, Henry James, Howard Moss, and others.

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简介：African American Literary Theory is an extraordinary gift to literary studies. It is necessary, authoritative and thorough. The timing of this book is superb!" Karla F.C. Holloway, Duke University "The influence of African American literature can be attributed, in no small part, to the literary theorists gathered in this collection. This is a superb anthology that represents a diversity of voices and points of view, and a much needed historical retrospective of how African American literary theory has developed." Marlon B. Ross, University of Michigan "A volume of great conceptual significance and originality in its focus on the development of African American literary theory." Farah Jasmine Griffin, University of Pennsylvania African American Literary Theory: A Readeris the first volume to document the central texts and arguments in African American literary theory from the 1920s through the present. As the volume progresses chronologically from the rise of a black aesthetic criticism, through the Blacks Arts Movement, feminism, structuralism and poststructuralism, and the rise of queer theory, it focuses on the key arguments, themes, and debates in each period. By constantly bringing attention to the larger political and cultural issues at stake in the interpretation of literary texts, the critics gathered here have contributed mightily to the prominence and popularity of African American literature in this country and abroad. African American Literary Theoryprovides a unique historical analysis of how these thinkers have shaped literary theory, and literature at large, and will be a indispensable text for the study of African American intellectual culture. Contributors include Sandra Adell, Michael Awkward, Houston A. Baker, Jr., Hazel V. Carby, Barbara Christian, W.E.B. DuBois, Ann duCille, Ralph Ellison, Henry Louis Gates, Jr., Addison Gayle Jr., Carolyn F. Gerald, Evelynn Hammonds, Phillip Brian Harper, Mae Gwendolyn Henderson, Stephen E. Henderson, Karla F.C. Holloway, Langston Hughes, Zora Neale Hurston, LeRoi Jones (Amiri Baraka), Joyce A. Joyce, Alain Locke, Wahneema Lubiano, Deborah E. McDowell, Harryette Mullen, Larry Neal, Charles I. Nero, Robert F. Reid-Pharr, Marlon B. Ross, George S. Schuyler, Barbara Smith, Valerie Smith, Hortense J. Spillers, Sherley Anne Williams, and Richard Wright.

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简介：Pretty story by Francis Hopkinson -- Rip Van Winkle by Washington Irving -- Peter Rugg, the missing man by William Austin -- Grey champion by Nathaniel Hawthorne -- Big bear of Arkansas by T.B. Thorpe -- Cask of Amontillado by Edgar Allen Poe -- Bartleby the scrivener by Herman Melville -- Tennessee's partner by Bret Harte -- Captain Kidd's money by Harriet Beecher Stowe -- Marjorie Daw by Thomas Bailey Aldrich -- Lady or the tiger? by Frank Stockton -- Over on the t'other mounting by Charles Egbert Craddock -- Revolt of mother by Mary Wilkins Freeman -- One of the missing by Ambrose Bierce -- Return of a private by Hamlin Garland -- Real thing by Henry James -- Courting of Sister Wisby by Sarah Orne Jewett -- Open boat by Stephen Crane -- Man that corrupted Hadleyburg by Samuel Langhorne Clemens -- Furnished room by O. Henry -- To build a fire by Jack London -- Strength of God and the teacher by Sherwood Anderson -- Diamond as big as the Ritz by F. Scott Fitzgerald -- Haircut by Ring Lardner -- Double birthday by Willa Cather -- Spring evening by James T. Farrell -- Masses of men by Erskine Caldwell -- Gilded six-bits by Zora Neale Hurston -- Silent snow, secret snow by Conrad Aiken -- Odor of verbena by William Faulkner -- Daring young man on the flying trapeze by William Saroyan -- Snows of Kilimanjaro by Ernest Hemingway -- Tooth for Paul Revere by Stephen Vincent Benet -- Noon wine by Katherine Anne Porter -- Leader of the people by John Steinbeck -- Lily Daw and the three ladies by Eudora Welty -- Fire and cloud by Richard Wright -- Patterns of love by William Maxwell -- Ballad of the sad cafe by Carson McCullers -- Cass Mastern's wedding ring by Robert Penn Warren -- Wedding: Beacon Hill by Jean Stafford -- Rain in the heart by Peter Taylor -- Gunners' Passage by Irwin Shaw -- Lottery by Shirley Jackson -- February 1999: Ylla by Ray Bradbury -- Country husband by John Cheever -- Good man is hard to find by Flannery O'Connor -- Mexican girl by Jack Kerouac --浮喔膏笖 喔佮覆喔｀笣

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简介：When Elaine Showalter's study of English women writers, A Literature of Their Own, appeared in 1977, Patricia M. Spacks hailed it in The New York Times Book Reviewas "provocative....thoughtfully argued," and certain to "generate fresh social and literary understanding." Now Showalter--who also edited the influential New Feminist Criticism(for which the New York Times Book Reviewfound "cause to celebrate")--turns her critical insight to a wide range of American women authors in order to explore the diversity of our culture and question the concept of a single national literature or identity. After a lucid discussion of recent African-American, feminist, and post-colonial scholarship, Showalter provides provocative readings of classic and lesser-known women's writings. The focal points of this study are the delightful chapters on Louisa May Alcott's Little Women, Edith Wharton's House of Mirth, and Kate Chopin's The Awakening. Not only are Showalter's interpretations full of wit and subtlety--as when she compares Chopin's novel to a piece of music by the composer Chopin--but her imaginative invocation of these popular works makes us curious to rediscover them. The range of Sister's Choiceis spectacular--from Alice Walker's The Color Purple(Celie's quilt provides Showalter's title--an allusion to the multiple destinies of American women) to Harriet Beecher Stowe's Uncle Tom's Cabin(which is compared to the popular Log Cabin pattern quilt of the 19th century). Along the way we find chapters on rewritings of Shakespeare's Tempestby American women, on the Female Gothic (from Anne Radcliffe to Charlotte Perkins Gilman to Joyce Carol Oates), on Harlem Renaissance writers such as Nella Larsen and Zora Neal Hurston (who died in a welfare home, only to have her work rediscovered decades later), even on the history of the patchwork quilt in literature and in women's lives, which ends with a moving description of the Names Project, the quilt which memorializes people who have died of AIDS. The broad scope of Sister's Choice(which is based on the prestigious Clarendon lectures from 1989) testifies to the multiplicity of cultures which make up the United States. In her approach to literary works, Elaine Showalter helps to envision a new map of America--one which charts the struggles, suffering, and enduring creativity of women's writing.

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简介："In the African-American Grain" is a powerful exploration of the impact of African-American oral storytelling techniques on modern and contemporary fiction. Reading literature in the call-and-response tradition, John F. Callahan shows how African-American writers including Charles Chesnutt, Jean Toomer, Zora Neale Hurston, Ralph Ellison, Ernest Gaines, and Alice Walker have used the forms and forces of this uniquely participatory discourse to establish not only a potential relationship between storyteller and audience but also a potential for change. In a new preface, Callahan comments on how the tradition of call-and-response has continued to develop among African-American writers as well as writers of other backgrounds.

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简介：Speaking from the heart on a wide range of topics - religion and the spirit, writing and language, families and identity, politics and social change - Walker begins with a moving autobiographical essay in which she describes her own spiritual growth and the roots of her activism, including reflections about religion in The Color Purple. She goes on to explore many important private and public issues: being a daughter and raising one, dreadlocks, banned books, civil rights, gender communication, and the ritual mutilation ofchildren in Ghana. She writes about Zora Neale Hurston andSalman Rushdie and offers advice for Bill Clinton, for Fidel Castro, and for young women growing up. She commentson culture and cats, feminism and race, writing and living. Here are a wise woman's thoughts as she interacts with the world today, and an important portrait of an activist writer's life.

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简介：Part of a two-volume set of works by Zora Neale Hurston, Novels and Stories features the acclaimed 1937 novel Their Eyes Were Watching God-- plus Jonah's Gourd Vine, Moses Man of the Mountain, Seraph on the Suwanee, and selected stories. Includes a newly researched chronology of Hurston's life, detailed notes, and a brief essay on the texts.