In Fettered Genius, Keith D. Leonard identifies how African American poets' use and revision of traditional poetics constituted an antiracist political agency. Comparing this practice to the use of poetic mastery by the ancient Celtic bards to resist British imperialism, Leonard shows how traditional poetics enable African American poets to insert racial experience, racial protest, and African American culture into public discourse by making them features of validated artistic expression. As with the Celtic bards, these poets' artistry testified to their marginalized people's capacity for imagination and reason within and against the terms of the dominant culture. In an ambitious survey that moves from slavery to the cultural nationalism of the 1960s, Leonard examines numerous poets, placing each in the context of his or her time to demonstrate the antiracist meaning of their accomplishments. The book offers new insight on the conservatism of Phillis Wheatley, Paul Laurence Dunbar, and the genteel members of the Harlem Renaissance, how their rage for assimilation functioned to refute racist notions of difference and, paradoxically, to affirm a distinctive racial experience as valid material for poetry. Leonard also demonstrates how the more progressive and ethnically distinctive poetics of Langston Hughes, Sterling Brown, Gwendolyn Brooks, Robert Hayden, and Melvin B. Tolson share some of the same ambivalence about cultural achievement as those of the earlier poets. They also have in common the self-conscious pursuit of an affirmation of the African American self through the substitution of African American vernacular language and cultural forms for traditional poetic themes and forms. The evolution of these poetics parallels the emergence of notions of ethnic identity over racial identity and, indeed, in some ways even motivated this shift. Leonard recognizes poetic mastery as the African American bardic poet's most powerful claim of ethnic tradition and of social belonging and clarifies the full hybrid complexity of African American identity that makes possible this political self-assertion. The development that is traced in Fettered Genius illustrates nothing less than the defining artistic coherence and political significance of the African American poetic tradition.

Walt Whitman has long been regarded as the quintessential American bard, the poet who best represents all that is distinctive about life in the United States. Whitman himself encouraged this view, but he was also quick to remind his readers that he was an unlikely candidate for the office of national poet, and that his working-class upbringing and radical take on human sexuality often put him at odds with American culture. While American literary history has tended to credit Whitman with having invented the persona of the national outsider as the national bard, Edward Whitley recovers three of Whitman's contemporaries who adopted similar personae: James M. Whitfield, an African American separatist and abolitionist; Eliza R. Snow, a Mormon pioneer and women's leader; and John Rollin Ridge, a Cherokee journalist and Native-rights advocate. These three poets not only provide a counterpoint to the Whitmanian persona of the outsider bard, but they also reframe the criteria by which generations of scholars have characterized Whitman as America's poet. This effort to resituate Whitman's place in American literary history provides an innovative perspective on the most familiar poet of the United States and the culture from which he emerged.

Temperance and Cosmopolitanism explores the nature and meaning of cosmopolitan freedom in the nineteenth century through a study of selected African American authors and reformers: William Wells Brown, Martin Delany, George Moses Horton, Frances E. W. Harper, and Amanda Berry Smith. Their voluntary travels, a reversal of the involuntary movement of enslavement, form the basis for a critical mode of cosmopolitan freedom rooted in temperance. Both before and after the Civil War, white Americans often associated alcohol and drugs with blackness and enslavement. Carole Lynn Stewart traces how African American reformers mobilized the discourses of cosmopolitanism and restraint to expand the meaning of freedom—a freedom that draws on themes of abolitionism and temperance not only as principles and practices for the inner life but simultaneously as the ordering structures for forms of culture and society. While investigating traditional meanings of temperance consistent with the ethos of the Protestant work ethic, Enlightenment rationality, or asceticism, Stewart shows how temperance informed the founding of diasporic communities and civil societies to heal those who had been affected by the pursuit of excess in the transatlantic slave trade and the individualist pursuit of happiness. By elucidating the concept of the “black Atlantic” through the lenses of literary reformers, Temperance and Cosmopolitanism challenges the narrative of Atlantic history, empire, and European elite cosmopolitanism. Its interdisciplinary approach will be of particular value to scholars of African American literature and history as well as scholars of nineteenth-century cultural, political, and religious studies.

This volume charts the ways in which African American literature fosters transitions between material cultures and contexts from 1830 to 1850, and showcases work that explores how African American literature and lived experiences shaped one another. Chapters focus on the interplay between pivotal political and social events, including emancipation in the West Indies, the Irish Famine, and the Fugitive Slave Act, and key African American cultural productions, such as the poetry of Frances Ellen Watkins Harper, the writings of David Walker, and the genre of the Slave Narrative. Chapters also examine the relationship between African American literature and a variety of institutions including, the press, and the post office. The chapters are grouped together in three sections, each of which is focused on transitions within a particular geographic scale: the local, the national, and the transnational. Taken together, they offer a crucial account of how African Americans used the written word to respond to and drive the events and institutions of the 1830s, 1840s, and beyond.

Modern poetry, at least according to the current consensus, is difficult and often depressing. But as Humor in Modern American Poetry shows, modern poetry is full of humorous moments, from comic verse published in popular magazines to the absurd juxtapositions of The Cantos. The essays in this collection show that humor is as essential to the serious work of William Carlos Williams as it is to the light verse of Phyllis McGinley. For the writers in this volume, the point of humor is not to provide "comic relief,†? a brief counterpoint to the poem's more serious themes; humor is central to the poems' projects. These poets use humor to claim their own poetic authority; to re-define literary tradition; to show what audience they are writing for; to make political attacks; and, perhaps most surprisingly, to promote sympathy among their readers. The essays in this book include single-author studies, discussions of literary circles, and theories of form. Taken together, they help to begin a new conversation about modernist poetry, one that treats its lighthearted moments not as decorative but as substantive. Humor defines groups and marks social boundaries, but it also leads us to transgress those boundaries; it forges ties between the writer and the reader, blurs the line between public and private, and becomes a spur to self-awareness.

Reprint of the original, first published in 1865. The Life of an Artist. From the German of his son Baron Max Maria von Weber. In two Volumes.