As Nathan Huggins once stated, altering American history to account fully for the nation's black voices would change the tone and meaning--the frame and the substance--of the entire story. Rather than a sort of Pilgrim's Progress tale of bold ascent and triumph, American history with the black parts told in full would be transmuted into an existential tragedy, closer, Huggins said, to Sartre's No Exit than to the vision of life in Bunyan. The relation between memory and history has received increasing attention both from historians and from literary critics. In this volume, a group of leading scholars has come together to examine the role of historical consciousness and imagination in African-American culture. The result is a complex picture of the dynamic ways in which African-American historical identity constantly invents and transmits itself in literature, art, oral documents, and performances. Each of the scholars represented has chosen a different "site of memory"--from a variety of historical and geographical points, and from different ideological, theoretical, and artistic perspectives. Yet the book is unified by a common concern with the construction of an emerging African-American cultural memory. The renowned group of contributors, including Hazel Carby, Werner Sollors, Vèvè Clark, Catherine Clinton, and Nellie McKay, among others, consists of participants of the five-year series of conferences at the DuBois Institute at Harvard University, from which this collection originated. Conducted under the leadership of Geneviève Fabre, Melvin Dixon, and the late Nathan Huggins, the conferences--and as a result, this book--represent something of a cultural moment themselves, and scholars and students of American and African-American literature and history will be richer as a result.

In the Jim Crow era, along with black churches, schools, and newspapers, African Americans also had their own history. Making Black History focuses on the engine behind the early black history movement, Carter G. Woodson and his Association for the Study of Negro Life and History (ASNLH). Author Jeffrey Aaron Snyder shows how the study and celebration of black history became an increasingly important part of African American life over the course of the early to mid-twentieth century. It was the glue that held African Americans together as “a people,” a weapon to fight racism, and a roadmap to a brighter future. Making Black History takes an expansive view of the historical enterprise, covering not just the production of black history but also its circulation, reception, and performance. Woodson, the only professional historian whose parents had been born into slavery, attracted a strong network of devoted members to the ASNLH, including professional and lay historians, teachers, students, “race” leaders, journalists, and artists. They all grappled with a set of interrelated questions: Who and what is “Negro”? What is the relationship of black history to American history? And what are the purposes of history? Tracking the different answers to these questions, Snyder recovers a rich public discourse about black history that took shape in journals, monographs, and textbooks and sprang to life in the pages of the black press, the classrooms of black schools, and annual celebrations of Negro History Week. By lining up the Negro history movement’s trajectory with the wider arc of African American history, Snyder changes our understanding of such signal aspects of twentieth-century black life as segregated schools, the Harlem Renaissance, and the emerging modern civil rights movement.

The movement for civil rights in America peaked in the 1950s and1960s; however, a closely related struggle, this time over themovement's legacy, has been heatedly engaged over the past twodecades. How the civil rights movement is currently being rememberedin American politics and culture - and why it matters - is the commontheme of the thirteen essays in this unprecedented collection.Memories of the movement are being created and maintained - in waysand for purposes we sometimes only vaguely perceive - throughmemorials, art exhibits, community celebrations, and even streetnames.

As Nathan Huggins once stated, altering American history to account fully for the nation's black voices would change the tone and meaning--the frame and the substance--of the entire story. Rather than a sort of Pilgrim's Progress tale of bold ascent and triumph, American history with the black parts told in full would be transmuted into an existential tragedy, closer, Huggins said, to Sartre's No Exit than to the vision of life in Bunyan. The relation between memory and history has received increasing attention both from historians and from literary critics. In this volume, a group of leading scholars has come together to examine the role of historical consciousness and imagination in African-American culture. The result is a complex picture of the dynamic ways in which African-American historical identity constantly invents and transmits itself in literature, art, oral documents, and performances. Each of the scholars represented has chosen a different "site of memory"--from a variety of historical and geographical points, and from different ideological, theoretical, and artistic perspectives. Yet the book is unified by a common concern with the construction of an emerging African-American cultural memory. The renowned group of contributors, including Hazel Carby, Werner Sollors, Veve Clark, Catherine Clinton, and Nellie McKay, among others, consists of participants of the five-year series of conferences at the DuBois Institute at Harvard University, from which this collection originated. Conducted under the leadership of Genevieve Fabre, Melvin Dixon, and the late Nathan Huggins, the conferences--and as a result, this book--represent something of a cultural moment themselves, and scholars and students of American and African-American literature and history will be richer as a result.

Deborah Willis has produced a work that is a celebration of African-American life, identity and history. Insightful and profound essays and photographs reveal the strength and cohesion of African-Americans and their dauntless struggles for self-expression and survival.

This oral history portrays the lives of African American women who migrated from the rural South to work as domestic servants in Washington, DC in the early decades of the twentieth century. In Living In, Living Out Elizabeth Clark-Lewis narrates the personal experiences of eighty-one women who worked for wealthy white families. These women describe how they encountered—but never accepted—the master-servant relationship, and recount their struggles to change their status from “live in” servants to daily paid workers who “lived out.” With candor and passion, the women interviewed tell of leaving their families and adjusting to city life “up North,” of being placed as live-in servants, and of the frustrations and indignities they endured as domestics. By networking on the job, at churches, and at penny savers clubs, they found ways to transform their unending servitude into an employer-employee relationship—gaining a new independence that could only be experienced by living outside of their employers' homes. Clark-Lewis points out that their perseverance and courage not only improved their own lot but also transformed work life for succeeding generations of African American women. A series of in-depth vignettes about the later years of these women bears poignant witness to their efforts to carve out lives of fulfillment and dignity.

This powerful, provocative survey is organized around the key issues of Afro-American history: Africa and slavery, family, religion, sex and racism, politics, economics, education, criminal justice, discrimination and protest movements, and black nationalism.