Winner • NAACP Image Award for Outstanding Literary Work (Fiction) Winner • Anne Izard Storytellers’ Choice Award Holiday Gift Guide Selection • Indiewire, San Francisco Chronicle, and Minneapolis Star-Tribune These nearly 150 African American folktales animate our past and reclaim a lost cultural legacy to redefine American literature. Drawing from the great folklorists of the past while expanding African American lore with dozens of tales rarely seen before, The Annotated African American Folktales revolutionizes the canon like no other volume. Following in the tradition of such classics as Arthur Huff Fauset’s “Negro Folk Tales from the South” (1927), Zora Neale Hurston’s Mules and Men (1935), and Virginia Hamilton’s The People Could Fly (1985), acclaimed scholars Henry Louis Gates Jr. and Maria Tatar assemble a groundbreaking collection of folktales, myths, and legends that revitalizes a vibrant African American past to produce the most comprehensive and ambitious collection of African American folktales ever published in American literary history. Arguing for the value of these deceptively simple stories as part of a sophisticated, complex, and heterogeneous cultural heritage, Gates and Tatar show how these remarkable stories deserve a place alongside the classic works of African American literature, and American literature more broadly. Opening with two introductory essays and twenty seminal African tales as historical background, Gates and Tatar present nearly 150 African American stories, among them familiar Brer Rabbit classics, but also stories like “The Talking Skull” and “Witches Who Ride,” as well as out-of-print tales from the 1890s’ Southern Workman. Beginning with the figure of Anansi, the African trickster, master of improvisation—a spider who plots and weaves in scandalous ways—The Annotated African American Folktales then goes on to draw Caribbean and Creole tales into the orbit of the folkloric canon. It retrieves stories not seen since the Harlem Renaissance and brings back archival tales of “Negro folklore” that Booker T. Washington proclaimed had emanated from a “grapevine” that existed even before the American Revolution, stories brought over by slaves who had survived the Middle Passage. Furthermore, Gates and Tatar’s volume not only defines a new canon but reveals how these folktales were hijacked and misappropriated in previous incarnations, egregiously by Joel Chandler Harris, a Southern newspaperman, as well as by Walt Disney, who cannibalized and capitalized on Harris’s volumes by creating cartoon characters drawn from this African American lore. Presenting these tales with illuminating annotations and hundreds of revelatory illustrations, The Annotated African American Folktales reminds us that stories not only move, entertain, and instruct but, more fundamentally, inspire and keep hope alive. The Annotated African American Folktales includes: Introductory essays, nearly 150 African American stories, and 20 seminal African tales as historical background The familiar Brer Rabbit classics, as well as news-making vernacular tales from the 1890s’ Southern Workman An entire section of Caribbean and Latin American folktales that finally become incorporated into the canon Approximately 200 full-color, museum-quality images

Juneteenth Texas reflects the many dimensions of African-American folklore. The personal essays are reminiscences about the past and are written from both black and white perspectives. They are followed by essays which classify and describe different aspects of African-American folk culture in Texas; studies of specific genres of folklore, such as songs and stories; studies of specific performers, such as Lightnin' Hopkins and Manse Lipscomb and of particular folklorists who were important in the collecting of African-American folklore, such as J. Mason Brewer; and a section giving resources for the further study of African Americans in Texas.

Full of life, wisdom, and humor, these tales range from the earthy comedy of tricksters to accounts of how the world was created and got to be the way it is to moral fables that tell of encounters between masters and slaves. They include stories set down in nineteenth-century travelers' reports and plantation journals, tales gathered by collectors such as Joel Chandler Harris and Zora Neale Hurston, and narratives tape-recorded by Roger Abrahams himself during extensive expeditions throughout the American South and the Caribbean. With black-and-white illustrations throughout Part of the Pantheon Fairy Tale and Folkore Library

The deep forest and broad savannah, the campsites, kraals, and villages—from this immense area south of the Sahara Desert the distinguished American folklorist Roger D. Abrahams has selected ninety-five tales that suggest both the diversity and the interconnectedness of the people who live there. The storytellers weave imaginative myths of creation and tales of epic deeds, chilling ghost stories, and ribald tales of mischief and magic in the animal and human realms. Abrahams renders these stories in a narrative voice that reverberates with the rhythms of tribal song and dance and the emotional language of universal concerns. With black-and-white drawings throughout Part of the Pantheon Fairy Tale and Folklore Library

Nineteen stories focus on the magical lore and wondrous imaginings of African American women.

Collection of traditional folk tales introduces a host of interesting people and unusual animals — among them "The Cricket and the Toad," "The Tortoise and His Broken Shell," and "The Boy in the Drum."

The challenges of interracial fieldwork