This History explores innovations in African American autobiography since its inception, examining the literary and cultural history of Black self-representation amid life writing studies. By analyzing the different forms of autobiography, including pictorial and personal essays, editorials, oral histories, testimonials, diaries, personal and open letters, and even poetry performance media of autobiographies, this book extends the definition of African American autobiography, revealing how people of African descent have created and defined the Black self in diverse print cultures and literary genres since their arrival in the Americas. It illustrates ways African Americans use life writing and autobiography to address personal and collective Black experiences of identity, family, memory, fulfillment, racism and white supremacy. Individual chapters examine scrapbooks as a source of self-documentation, African American autobiography for children, readings of African American persona poems, mixed-race life writing after the Civil Rights Movement, and autobiographies by African American LGBTQ writers.

To Tell A Free Story traces in unprecedented detail the history of Black autobiography from the colonial era through Emancipation. Beginning with the 1760 narrative by Briton Hammond, William L. Andrews explores first-person public writings by Black Americans. Andrews includes but also goes beyond slave narratives to analyze spiritual biographies, criminal confessions, captivity stories, travel accounts, interviews, and memoirs. As he shows, Black writers continuously faced the fact that northern whites often refused to accept their stories and memories as sincere, and especially distrusted portraits of southern whites as inhuman. Black writers had to silence parts of their stories or rely on subversive methods to make facts tellable while contending with the sensibilities of the white editors, publishers, and readers they relied upon and hoped to reach.

Slave narratives were one of the earliest forms of African American writing. These works, autobiographical in nature, later fostered other pieces of African American autobiography. Since the rise of Black Studies in the late 1960s, leading critics have constructed black lives and letters as antitheses of the ways and writings of mainstream American culture. According to such thinking, black writing stems from a set of experiences very different from the world of whites, and black autobiography must therefore differ radically from heroic white American tales. But in pointing to differences between black and white autobiographical works, these critics have overlooked the similarities. This volume argues that the African American autobiography is a continuation of the epic tradition, much as the prose narratives of voyage by white Americans in the nineteenth century likewise represent the evolution of the epic genre. The book makes clear that the writers of black autobiography have shared and shaped American culture, and that their works are very much a part of American literature. An introductory essay provides a theoretical framework for the chapters that follow. It discusses the origins of African American autobiography and the larger themes of the epic tradition that are common to the works of both black and white authors. The book then pairs representative African American autobiographies with similar works by white writers. Thus the volume matches Olaudah Equiano's slave narrative with The Autobiography of Benjamin Franklin, the Narrative of the Life of Frederick Douglass, An American Slave with Richard Henry Dana's Two Years Before the Mast, and Harriet Jacobs' Incidents in the Life of a Slave Girl with Fanny Fern's Ruth Hall. The study indicates that these various works all recognize the importance of learning as a means for attaining freedom. The final chapter provides a broad survey of the African American autobiography.

Autobiography of a People is an insightfully assembled anthology of eyewitness accounts that traces the history of the African American experience. From the Middle Passage to the Million Man March, editor Herb Boyd has culled a diverse range of voices, both famous and ordinary, to creat a unique and compelling historical portrait: Benjamin Banneker on Thomas Jefferson Old Elizabeth on spreading the Word Frederick Douglass on life in the North W.E.B. Du Bois on the Talented Tenth Matthew Henson on reaching the North Pole Harriot Jacobs on running away James Cameron on escaping a mob lyniching Alvin Ailey on the world of dance Langston Hughes on the Harlem Renaissance Curtis Morriw on the Korean War Max ROach on "jazz" as a four-letter word LL Cool J on rap Mary Church Terrell on the Chicago World's Fair Rev. Bernice King on the future of Black America And many others.

Few were more qualified than Dempsey Travis to write the history of African Americans in Chicago, and none would be able to do it with the same command of firsthand sources. This seminal paperback reissue, An Autobiography of Black Chicago, emulates the best works of Studs Terkel — portraying the African American Chicago community through the personal experiences of Dempsey Travis, his family, and his fellow Chicagoans. Through his family's and his own experiences, plus those of the book's numerous well-respected contributors, Travis tells a comprehensive, intimate story of African Americans in Chicago. Starting with John Baptiste Point du Sable, who was the first non–Native American to settle on the mouth of the Chicago River, and ending with Travis's successes providing equal housing opportunities for Chicago African Americans, An Autobiography of Black Chicago acquaints the reader with the city's most prominent African American figures — told through their own words.

The slave narrative has become a crucial genre within African American literary studies and an invaluable record of the experience and history of slavery in the United States. This Companion examines the slave narrative's relation to British and American abolitionism, Anglo-American literary traditions such as autobiography and sentimental literature, and the larger African American literary tradition. Special attention is paid to leading exponents of the genre such as Olaudah Equiano, Frederick Douglass and Harriet Jacobs, as well as many other, less well known examples. Further essays explore the rediscovery of the slave narrative and its subsequent critical reception, as well as the uses to which the genre is put by modern authors such as Toni Morrison. With its chronology and guide to further reading, the Companion provides both an easy entry point for students new to the subject and comprehensive coverage and original insights for scholars in the field.

African American Lives offers up-to-date, authoritative biographies of some 600 noteworthy African Americans. These 1,000-3,000 word biographies, selected from over five thousand entries in the forthcoming eight-volume African American National Biography, illuminate African-American history through the immediacy of individual experience. From Esteban, the earliest known African to set foot in North America in 1528, right up to the continuing careers of Venus and Serena Williams, these stories of the renowned and the near forgotten give us a new view of American history. Our past is revealed from personal perspectives that in turn inspire, move, entertain, and even infuriate the reader. Subjects include slaves and abolitionists, writers, politicians, and business people, musicians and dancers, artists and athletes, victims of injustice and the lawyers, journalists, and civil rights leaders who gave them a voice. Their experiences and accomplishments combine to expose the complexity of race as an overriding issue in America's past and present. African American Lives features frequent cross-references among related entries, over 300 illustrations, and a general index, supplemented by indexes organized by chronology, occupation or area of renown, and winners of particular honors such as the Spingarn Medal, Nobel Prize, and Pulitzer Prize.