Eppa Hunton II (1822-1908), was a prominent figure in Virginia throughout his career as a lawyer, soldier and Congressman. Although his autobiography was written mainly for his family it contains much to interest the general reader and Civil War historian alike. In 1861 Hunton was among the delegates to the Virginia Succession Convention and voted for secession; immediately thereafter he was commission as a colonel in the 8th Virginia Infantry. He saw much action in the early years of the war, at First Bull Run and the battle of Ball’s Bluff; he commanded a brigade in Longstreet’s Corps under Pickett. His memories of Pickett’s charge in which he was wounded are among the ever written, having recovered he served in the Army of Northern Virginian as a Brigadier General at Cold Harbor and the defence of Petersburg. He was again wounded at the battle of Sayler’s creek and captured by Union forces. A gem of a Civil War memoir.

In My Father's Shadow, David L. Dudley explores a line of African American men's autobiographies. starting with Frederick Douglass and moving on through Booker T. Washington, W.E.B. Du Bois, Richard Wright, James Baldwin, Eldridge Cleaver, and Malcolm X. In life, these writers did not enjoy "normal" relationships with their fathers, who were all unknown, absent. or abusive. Damaged and damaging father-son relationships in childhood, Dudley contends, spill over into adult personal and artistic relationships, clouding and complicating the already complex issue of identity that lies at the core of any autobiographical endeavor. Dudley identifies a kind of inter­generational Oedipus conflict: each rising autobiographer seeks. through his text to displace his predecessor in order to gain imaginative space for himself as well as a position of authority in the black (and sometimes, white) community. As each writer strives to come to terms with the powerful father figure in the black male autobiographical tradition. he also wrestles with the larger issue of his own identity in relation to the literary and cultural traditions in which he lives and writes. Dudley also traces the triumph of these writers as they establish their own identity in the face of great personal and societal odds. My Father's Shadow is an important contribution to the study of African American literature, history, politics, and culture. It will also serve as an examination of the experiences of seven writers as they struggle with what it means to be a black man and a black writer in America.

“Straightforward, relaxed memoirs by the prodigiously industrious and learned Harvard diplomatic historian and head of the Research and Analysis Section of OSS... Fine reading for anyone interested in academic life and in the connections between scholarship and policy in foreign affairs.” — Gaddis Smith, Foreign Affairs “William L. Langer intended this autobiography as an exemplary tale of how a poor boy from an immigrant family made good in America... Langer’s autobiography provides clues to his patriotic identification with the establishment and to the prodigious energy and intelligence that produced his historical works.” — Dorothy Ross, The American Historical Review “[T]his informal, modest, and understated volume will please and inform both those who knew the author personally and those who knew him only through his publications... As a historian, Langer defies categorization... he explored new areas and new techniques for research — regional studies, demography, disease, and psychoanalysis. His autobiography is neither a full description nor critical appraisal of the profession, but it should convey to a younger generation the historian’s search for truth, his pride in craftsmanship, and his sense of social responsibility.” — Richard W. Leopold, The Journal of American History

A book to challenge the status quo, spark a debate, and get people talking about the issues and questions we face as a country!

The essays in Tracing the Autobiographical work with the literatures of several nations to reveal the intersections of broad agendas (for example, national ones) with the personal, the private, and the individual. Attending to ethics, exile, tyranny, and hope, the contributors listen for echoes and murmurs as well as authoritative declarations. They also watch for the appearance of auto/biography in unexpected places, tracing patterns from materials that have been left behind. Many of the essays return to the question of text or traces of text, demonstrating that the language of autobiography, as well as the textualized identities of individual persons, can be traced in multiple media and sometimes unlikely documents, each of which requires close textual examination. These “unlikely documents” include a deportation list, an art exhibit, reality TV, Web sites and chat rooms, architectural spaces, and government memos, as well as the more familiar literary genres—a play, the long poem, or the short story. Interdisciplinary in scope and contemporary in outlook, Tracing the Autobiographical is a welcome addition to autobiography scholarship, focusing on non-traditional genres and on the importance of location and place in life writing. Read the chapter “Gender, Nation, and Self-Narration: Three Generations of Dayan Women in Palestine/Israel” by Bina Freiwald on the Concordia University Library Spectrum Research Repository website.