Compiled by the editors of Freedomways. Tributes to Robeson in prose and poetry by his contemporaries. Selections from Robeson's own writings. Foreword to this edition by Ernest Kaiser. Updated bibliography.

The history of Robeson County reaches farther back than its creation in 1787 and reflects the impressive story of North Carolina. Carved out of the fertile farmlands on the border between North and South Carolina, Robeson is the Tarheel State's largest county at 948 square miles. It has been called "The State of Robeson" not only because of its size but also because of the fierce independence and self-reliance of its people. The county is unique in its almost equally balanced tri-racial population. The residents-Native American, African American, and white-have worked together over the centuries to create a culturally diverse community. Agriculture and textiles abound in the county's past, as well as transportation innovations, like the largest wartime glider air base ever built. Indeed, Robeson County's citizens have served in every American conflict from the Revolutionary War on, including its own internal war-the Lowery War-which lasted 10 years.

A biography of the black man who became both a famous singer and a controversial figure in world politics.

Lindsey R. Swindall examines the historical and political context of acclaimed African American actor Paul Robeson’s three portrayals of Shakespeare’s Othello in the United Kingdom and the United States. These performances took place in London in 1930, on Broadway in 1943, and in Stratford-upon-Avon in 1959. All three of the productions, when considered together, provide an intriguing glimpse into Robeson’s artistry as well as his political activism. The Politics of Paul Robeson’s Othello maintains that Robeson’s development into a politically minded artist explicates the broader issue of the role of the African American artist in times of crisis. Robeson (1898–1976) fervently believed that political engagement was an inherent component of the role of the artist in society, and his performances demonstrate this conviction. In the 1930 production, audiences and critics alike confronted the question: Should a Black actor play Othello in an otherwise all-white cast? In the 1943 production on Broadway, Robeson consciously used the role as a form for questioning theater segregation both onstage and in the seats. In 1959, after he had become well known for his leftist views and sympathies with Communism, his performance in a major Stratford-upon-Avon production called into question whether audiences could accept onstage an African American who held radical—and increasingly unpopular—political views. Swindall thoughtfully uses Robeson’s Othello performances as a collective lens to analyze the actor and activist’s political and intellectual development.

The National Eisteddfod Lecture at Ebbw Vale, 2010. While Paul Robeson is celebrated today in Wales as a socialist, he was also a key figure for Black Nationalists. Bevan seems to have been somewhat aware of this, for he delivered one of his most nationalistic speeches before introducing Robeson at the 1958 Eisteddfod in Ebbw Vale.

This is the first book-length study of the 12 films starring African American Renaissance man Paul Robeson (1898-1976). Singer, actor, author, lawyer, athlete, pacifist and civil rights activist, Robeson was also the first African American to receive top billing in motion pictures, delivering unforgettable characterizations in such classics as The Emperor Jones (1933), Sanders of the River (1935), Show Boat (1936) and The Proud Valley (1940). Original research is provided from primary materials housed at the Schomburg Center for Black Culture in Harlem and the FBI archives in Washington, D.C., and from Robeson's family and friends, including his son Paul Robeson, Jr. Two appendices cover Robeson's film work as offscreen narrator and singer and his many stage appearances. Rare illustrations include never-before-published original studio materials.

A full-color biography series features inspirational and contemporary African-Americans of interest to young people and who are important role models for all youngsters.

Carved out of fertile farmland along the border of the Carolinas in 1787, Robeson County is North Carolina's largest county, spanning 948 square miles. The county is called “The State of Robeson” not only because of its size, but because of its fierce independence and self-reliance. Unique in its equally balanced tri-racial population, Robeson County has residents that are Native American, African American, and white. Over the centuries, these people have worked together to create a culturally diverse community.

Paul Robeson's Voices is a meditation on Robeson's singing, a study of the artist's life in song. Music historian Grant Olwage examines Robeson's voice as it exists in two broad and intersecting domains: as sound object and sounding gesture, specifically how it was fashioned in the contexts of singing practices, in recital, concert, and recorded performance, and as subject of identification. Olwage asks: how does the voice encapsulate modes of subjectivity, of being? Combining deep archival research with musicological theory, this book is a study of voice as central to Robeson's sense of self and his politics. Paul Robeson's Voices charts the dialectal process of Robeson's vocal and self-discovery, documenting some of the ways Robeson's practice revised the traditions of concert singing in the first half of the twentieth century and how his voice manifested as resistance.

This comprehensive biography explores the tumultuous and passionate life of activist, singer, and actor Paul Robeson. When faced with the decision to remain silent or be ostracized, Paul Robeson chose to sing, shout, and speak out. Sing and Shout: The Mighty Voice of Paul Robeson explores how Robeson's love of African American spirituals and deep empathy towards the suffering of others drove his long, fervent mission as a civil rights activist and his career as an artist. Although he was also an actor, singing was Robeson's defining talent and where he could best express himself. After exploring socialism, Robeson was targeted by the U.S. government for speaking out about discrimination against African Americans and for his political views. He was labeled a communist during the height of the Cold War and found himself stripped of his U.S. passport. But Robeson never gave in and continued to perform and speak out. The book is based on author Susan Goldman Rubin's extensive research, including fieldwork in Harlem, NY, in Princeton and Somerville, NJ, and at Rutgers University in New Brunswick, NJ. Includes an author's note, resources, source notes, index, and a preface by author Harry Belafonte.