Antebellum is a provocative and compelling novel that follows a modern-day rapper who is transported back to the days of slavery. When Da Nigga is sent back in time, he finds himself a slave forced to live the life of his ancestors. A rapper in the present day, Da Nigga must confront the reality of the African-American experience as slavery challenges everything he holds dear: from his fellow rappers and their lyrics, to the executives and their motives. Antebellum is a powerful addition to today's discourse on race and culture.

How did diverse women in America understand, explain, and act upon their varied constraints, positions, responsibilities, and worldviews in changing American society between the end of the Revolution and the beginning of the Civil War? Antebellum Women: Private, Public, Partisan answers the question by going beyond previous works in the field. The authors identify three phases in the changing relationship of women to civic and political activities. They first situate women as "deferential domestics" in a world of conservative gender expectations; then map out the development of an ideology that allowed women to leverage their familial responsibilities into participation as "companionate co-workers" in movements of religion, reform, and social welfare; and finally trace the path of those who followed their causes into the world of politics as "passionate partisans." The book includes a selection of primary documents that encompasses both well-known works and previously unpublished texts from a variety of genre

Slavery, Surveillance, and Genre in Antebellum United States Literature argues for the existence of deep, often unexamined, interconnections between genre and race by tracing how surveillance migrates from the literature of slavery to crime, gothic, and detective fiction. Attending to the long history of surveillance and policing of African Americans, the book challenges the traditional conception of surveillance as a top-down enterprise, equally addressing the tactics of sousveillance (watching from below) that enslaved people and their allies used to resist, escape, or merely survive racial subjugation. Examining the dialectic of racialized surveillance and sousveillance from fugitive slave narratives to fictional genres focused on crime and detection, the book shows how these genres share a thematic concern with the surveillance of racialized bodies and formal experimentation with ways of telling a story in which certain information is either rendered visible or kept hidden. Through close readings of understudied fugitive slave narratives published in the 1820s and 1830s, as well as texts by Edgar Allan Poe, Herman Melville, Frederick Douglass, Hannah Crafts, and Harriet Jacobs, Ross analyzes the different ways white and black authors take up these issues in their writing—from calming white fears of enslaved rebellion to abolishing slavery—and demonstrates how literary representations ultimately destabilize any clear-cut opposition between watching from above and below. In so doing, the book demonstrates the importance of race to surveillance studies and claims a greater role for the impact of surveillance on literary expression in the US during the era of slavery.

Expanding our understanding of the possibilities and challenges inherent in the expression of same-sex desire, Greven identifies a pattern of what he calls ‘gender protest’ in the writings of Margaret Fuller, Edgar Allan Poe, Herman Melville and Nathaniel Hawthorne. As Greven shows, antebellum authors took up the taboo subjects of same-sex desire and female sexuality and were adept in their use of a variety of rhetorical means for expressing the inexpressible.

With this book, Nancy Isenberg illuminates the origins of the women's rights movement. Rather than herald the singular achievements of the 1848 Seneca Falls convention, she examines the confluence of events and ideas_before and after 1848_that, in her vie

This thematic biography demonstrates how Stephen Douglas's path from a conflicted youth in Vermont to dim prospects in New York to overnight stardom in Illinois led to his identification with the Democratic Party and his belief that the federal government should respect the diversity of states and territories. His relationships with his mother, sister, teachers, brothers-in-law, other men and two wives are explored in depth. When he conducted the first cross-country campaign by a presidential candidate in American history, few among the hundreds of thousands that saw him in 1860 knew that his wife and he had just lost their infant daughter or that Douglas controlled a large Mississippi slave plantation. His story illuminates the gap between democracy then and today. The book draws on a variety of previously unexamined sources.

Explores the sibling rivalry that emerged in the American literary marketplace in the decades after the advent of the penny press, showing how journalism became a target, a counterpoint, and even a model for numerous American authors, including Thoreau, Cooper, Poe, and Stowe.

This book sheds new light on domestic forced migration by examining the experiences of American-born slave migrants from a comparative perspective. It analyzes how different migrant groups anticipated, reacted to, and experienced forced removal, as well as how they adapted to their new homes.

Ghosts. Railroads. Sing Sing. Sex machines. These are just a few of the phenomena that appear in John Lardas Modern’s pioneering account of religion and society in nineteenth-century America. This book uncovers surprising connections between secular ideology and the rise of technologies that opened up new ways of being religious. Exploring the eruptions of religion in New York’s penny presses, the budding fields of anthropology and phrenology, and Moby-Dick, Modern challenges the strict separation between the religious and the secular that remains integral to discussions about religion today. Modern frames his study around the dread, wonder, paranoia, and manic confidence of being haunted, arguing that experiences and explanations of enchantment fueled secularism’s emergence. The awareness of spectral energies coincided with attempts to tame the unruly fruits of secularism—in the cultivation of a spiritual self among Unitarians, for instance, or in John Murray Spear’s erotic longings for a perpetual motion machine. Combining rigorous theoretical inquiry with beguiling historical arcana, Modern unsettles long-held views of religion and the methods of narrating its past.

Antebellum American Pendant Paintings: New Ways of Looking marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19th-century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor’s Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849) and Thomas Cole’s Departure and Return (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale’s Kilauea by Day and Kilauea by Night (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.