Publication is an act of power. It brings a piece of writing to the public and identifies its author as a person with an intellect and a voice that matters. Because nineteenth-century Black Americans knew that publication could empower them, and because they faced numerous challenges getting their writing into print or the literary market, many published their own books and pamphlets in order to garner social, political, or economic rewards. In doing so, these authors nurtured a tradition of creativity and critique that has remained largely hidden from view. Bryan Sinche surveys the hidden history of African American self-publication and offers new ways to understand the significance of publication as a creative, reformist, and remunerative project. Full of surprising turns, Sinche's study is not simply a look at genre or a movement; it is a fundamental reassessment of how print culture allowed Black ideas and stories to be disseminated to a wider reading public and enabled authors to retain financial and editorial control over their own narratives.

"The distinction among slaves is as marked, as the classes of society are in any aristocratic community. Some refusing to associate with others whom they deem to be beneath them, in point of character, color, condition, or the superior importance of their respective masters." Henry Bibb, fugitive slave, editor, and antislavery activist, stated this in his Narrative of the Life and Adventures of Henry Bibb (1849). In William L. Andrews's magisterial study of an entire generation of slave narrators, more than 60 mid-nineteenth-century narratives reveal how work, family, skills, and connections made for social and economic differences among the enslaved of the South. Slave narrators disclosed class-based reasons for violence that broke out between "impudent," "gentleman," and "lady" slaves and their resentful "mean masters." Andrews's far-reaching book shows that status and class played key roles in the self- and social awareness and in the processes of liberation portrayed in the narratives of the most celebrated fugitives from U.S. slavery, such as Frederick Douglass, Harriet Jacobs, William Wells Brown, and William and Ellen Craft. Slavery and Class in the American South explains why social and economic distinctions developed and how they functioned among the enslaved. Noting that the majority of the slave narrators came from the higher echelons of the enslaved, Andrews also pays close attention to the narratives that have received the least notice from scholars, those from the most exploited class, the "field hands." By examining the lives of the most and least acclaimed heroes and heroines of the slave narrative, Andrews shows how the dividing edge of social class cut two ways, sometimes separating upper and lower strata of slaves to their enslavers' advantage, but at other times fueling pride, aspiration, and a sense of just deserts among some of the enslaved that could be satisfied by nothing less than complete freedom. The culmination of a career spent studying African American literature, this comprehensive study of the antebellum slave narrative offers a ground-breaking consideration of a unique genre of American literature.

Between 1820 and 1860, American social reformers invited all people to identify God's image in the victims of war, slavery, and addiction. Identifying the Image of God traces the theme of identification--and its liberal Christian roots--through the literature of social reform, focusing on sentimental novels, temperance tales, and slave narratives, and invites contemporary activists to revive the "politics of identification."

Reprint of the original, first published in 1874. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.