And it’s about to change the lives of everyone around him. Stanford Solomon is actually Abel Paisley, a man who faked his own death and stole the identity of his best friend. And now, nearing the end of his life, Stanford is about to meet his firstborn daughter, Irene Paisley, a home health aide who has unwittingly shown up for her first day of work to tend to the father she thought was dead. These Ghosts Are Family revolves around the consequences of Abel’s decision and tells the story of the Paisley family from colonial Jamaica to present day Harlem. There is Vera, whose widowhood forced her into the role of single mother. There are two daughters and a granddaughter who have never known they are related. And there are others, like the house boy who loved Vera, whose lives might have taken different courses if not for Abel Paisley’s actions. These Ghosts Are Family explores the ways each character wrestles with their ghosts and struggles to forge independent identities outside of the family and their trauma. The result is an engrossing portrait of a family and individuals caught in the sweep of history, slavery, migration, and the more personal dramas of infidelity, lost love, and regret. This electric and luminous family saga announces the arrival of a new American talent.

    The second edition reproduces the original London printing, supervised by Equiano in 1789. Robert J. Allison's introduction, which places Equiano's narrative in the context of the Atlantic slave trade, has been revised and updated to reflect the heated controversy surrounding Equiano's birthplace, as well as the latest scholarship on Atlantic history and the history of slavery. Improved pedagogical features include contemporary illustrations with expanded captions and a map showing Equiano's travels in greater detail. Helpful footnotes provide guidance throughout the eighteenth-century text, and a chronology and an up-to-date bibliography aid students in their study of this thought-provoking narrative.

    The source of this power is the voodoo religion, and its queen is Marie Laveau, the notorious voodooienne, worshipped and feared by blacks and whites alike.

    Relying entirely on the words of the legal decision Gregson v. Gilbert--the only extant public document related to the massacre of these African slaves--Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten. Check for the online reader's companion at http: //zong.site.wesleyan.edu.

    Jeanne Duval, the ginger-colored entertainer, struggles with her lover poet Charles Baudelaire...Mer, plantation slave and doctor, both hungers for and dreads liberation...and Thais, a dark-skinned beauty from Alexandria, is impelled to seek a glorious revelation-as Ezili, a being born of hope, unites them all. Interweaving acts of brutality with passionate unions of spirit and flesh, this is a narrative that shocks, entertains, and dazzles-from an award-winning writer who dares to redefine the art of storytelling.A Nebula Award nominee -- A Locus Magazine recommended book

    “There is a way to be cruel that seems Jamaican to me.” Tenderness and cruelty, loyalty and betrayal, ambition and regret—Alexia Arthurs navigates these tensions to extraordinary effect in her debut collection about Jamaican immigrants and their families back home. Sweeping from close-knit island communities to the streets of New York City and midwestern university towns, these eleven stories form a portrait of a nation, a people, and a way of life. In “Light Skinned Girls and Kelly Rowlands,” an NYU student befriends a fellow Jamaican whose privileged West Coast upbringing has blinded her to the hard realities of race. In “Mash Up Love,” a twin’s chance sighting of his estranged brother—the prodigal son of the family—stirs up unresolved feelings of resentment. In “Bad Behavior,” a mother and father leave their wild teenage daughter with her grandmother in Jamaica, hoping the old ways will straighten her out. In “Mermaid River,” a Jamaican teenage boy is reunited with his mother in New York after eight years apart. In “The Ghost of Jia Yi,” a recently murdered international student haunts a despairing Jamaican athlete recruited to an Iowa college. And in “Shirley from a Small Place,” a world-famous pop star retreats to her mother’s big new house in Jamaica, which still holds the power to restore something vital. The winner of The Paris Review’s Plimpton Prize for “Bad Behavior,” Alexia Arthurs emerges in this vibrant, lyrical, intimate collection as one of fiction’s most dynamic and essential young authors.

    That was the way it was since the beginning, and the way it was to be until the end. In the barn they tended to the animals, but also to each other, transforming the hollowed-out shed into a place of human refuge, a source of intimacy and hope in a world ruled by vicious masters. But when an older man—a fellow slave—seeks to gain favor by preaching the master’s gospel on the plantation, the enslaved begin to turn on their own. Isaiah and Samuel’s love, which was once so simple, is seen as sinful and a clear danger to the plantation’s harmony.With a lyricism reminiscent of Toni Morrison, Robert Jones, Jr. fiercely summons the voices of slaver and the enslaved alike to tell the story of these two men; from Amos the preacher to the calculating slave-master himself to the long line of women that surround them, women who have carried the soul of the plantation on their shoulders. As tensions build and the weight of centuries—of ancestors and future generations to come—culminate in a climactic reckoning, The Prophets masterfully reveals the pain and suffering of inheritance, but is also shot through with hope, beauty, and truth, portraying the enormous, heroic power of love.

    has discovered what he and others believe may be the first novel written by an African-American woman -- a discovery made even more monumental by the fact that it was found in its original manuscript form, completely unedited. Extensive scientific testing has been completed to authenticate the manuscript and ascertain its origins, and experts agree that it was written between 1853 and 1859, by an African-American woman who had previously been enslaved. Gates has painstakingly sought to identify the author, Hannah Crafts, through historical research, and although he has been unsuccessful in determining her true identity, he has found that many of the places, dates, and characters in the novel can be linked reliably to real events and people.A riveting story about a young slave woman on a Southern plantation, The Bondwoman's Narrative follows the title character as she escapes and makes her way to freedom. As a novel, it possesses all the charms and devices of popular mid-19th-century fiction, and the influences of gothic and romantic writers popular in the day are apparent throughout the text. But Crafts accomplishes more than mere mimicry in her book, adding her own voice to established traditions to create a unique style.Throughout the 19th century, many slave narratives -- most notably The Narrative of the Life of Frederick Douglass -- detailed the daily horrors of slavery. In choosing to write a novel rather than an autobiographical narrative, however, Crafts expresses the complete psychological and emotional breadth of the experience, transcending personal, private tortures to illuminate the inhumanity of "the peculiar institution." Her characters reflect upon and feel the experience of enslavement -- and because they are wholly rounded and fully developed, they also express the intellect and insight present in the best writings of Dickens, Poe, or Thoreau.Discovered dallying in her master's portrait gallery by a white housekeeper, who comments that she is "[l]ooking at the pictures...as if such an ignorant thing as you would know any thing about them," the title character poignantly counters to herself, "Ignorance, forsooth. Can ignorance quench the immortal mind or prevent its feeling at times the indications of its heavenly origins? Can it destroy that deep abiding appreciation of the beautiful that seems inherent to the human soul? Can it seal up the fountains of truth and all intuitive perception of life, death, and eternity? I think not. Those to whom man teaches little, nature like a wise and prudent mother teaches much."Regardless of its historical importance -- and the unavoidable questions and controversies about its authenticity -- the literary merits of The Bondwoman's Narrative are clear. A deeply engaging novel told with the clarity of a woman who has endured slavery's sorrows and the creativity of one who, at her core, was a gifted artist, it is a powerful story that leaves the reader simultaneously bereft and exhilarated, one that bears witness to the transcendent power of art. (Ann Kashickey)

    As a child, she channeled otherworldly power to free herself from slavery. Now, her new neighbor, a white woman named Charlotte, seeks her company, and an uneasy friendship grows between them. But Charlotte has also sought solace in the Ku Klux Klan, a relationship that jeopardizes Josephine's family.Nearly one hundred years later, Josephine's descendant, Ava, is a single mother who has just lost her job. She moves in with her white grandmother Martha, a wealthy but lonely woman who pays her grandchild to be her companion. But Martha's behavior soon becomes erratic, then even threatening, and Ava must escape before her story and Josephine's converge.The Revisioners explores the depths of women's relationships—powerful women and marginalized women, healers and survivors. It is a novel about the bonds between a mother and a child, the dangers that upend those bonds. At its core, The Revisioners ponders generational legacies, the endurance of hope, and the undying promise of freedom.

    The novel opens at the beginning of the 20th century with a community gathering to heal the mysterious illness of a young woman, Ella, who has returned to Jamaica after an unsuccessful marriage abroad. The Afro-Jamaican religion myal, which asserts that good has the power to conquer all, is invoked to heal Ella, who has been left “zombified” and devoid of any black soul. Ella, who is light skinned enough to pass for white, has suffered a breakdown after her white American husband produced a black-face minstrel show based on the stories of her village and childhood. This cultural appropriation is one of a series Ella encountered in her life, and parallels the ongoing theft of the labor and culture of colonized peoples for imperial gain and pleasure. The novel’s rich, vivid language and vital characters earned it the Commonwealth Writers’ Prize for Canada and the Caribbean.

    In the 1920s and since, it has also given white readers a startling new perspective on their own culture, revealing to many the double standard of racial identity imposed on black Americans.Narrated by a mulatto man whose light skin allows him to "pass" for white, the novel describes a pilgrimage through America's color lines at the turn of the century--from a black college in Jacksonville to an elite New York nightclub, from the rural South to the white suburbs of the Northeast.This is a powerful, unsentimental examination of race in America, a hymn to the anguish of forging an identity in a nation obsessed with color. And, as Arna Bontemps pointed out decades ago, "the problems of the artist [as presented here] seem as contemporary as if the book had been written this year."

    Of the millions of men, women, and children transported from Africa to America as slaves, Cudjo was then the only person alive to tell the story of this integral part of the nation's history. Hurston was there to record Cudjo's firsthand account of the raid that led to his capture and bondage fifty years after the Atlantic slave trade was outlawed in the United States.In 1931, Hurston returned to Plateau, the African-centric community three miles from Mobile founded by Cudjo and other former slaves from his ship. Spending more than three months there, she talked in depth with Cudjo about the details of his life. During those weeks, the young writer and the elderly formerly enslaved man ate peaches and watermelon that grew in the backyard and talked about Cudjo's past--memories from his childhood in Africa, the horrors of being captured and held in a barracoon for selection by American slavers, the harrowing experience of the Middle Passage packed with more than 100 other souls aboard the Clotilda, and the years he spent in slavery until the end of the Civil War.Based on those interviews, featuring Cudjo's unique vernacular, and written from Hurston's perspective with the compassion and singular style that have made her one of the preeminent American authors of the twentieth-century, Barracoon masterfully illustrates the tragedy of slavery and of one life forever defined by it. Offering insight into the pernicious legacy that continues to haunt us all, black and white, this poignant and powerful work is an invaluable contribution to our shared history and culture.

    With lyrical precision, psychological directness, resonating symbolic power, and a rage that is at once unrelenting and compassionate, Baldwin chronicles a fourteen-year-old boy's discovery of the terms of his identity as the stepson of the minister of a storefront Pentecostal church in Harlem one Saturday in March of 1935. Baldwin's rendering of his protagonist's spiritual, sexual, and moral struggle of self-invention opened new possibilities in the American language and in the way Americans understand themselves.

    Remarkable for its courage, its color, and its natural control. --The New Yorker An unforgettable novel written with pride and anger, with rebellion and tears. --New York Herald Tribune Set in Brooklyn during the Great Depression and World War II, Brown Girl, Brownstones chronicles the efforts of Barbadian immigrants to surmount poverty and racism and to make their new country home. Selina Boyce is torn between the opposing aspirations of her parents: her hardworking, ambitious mother longs to buy a brownstone row house while her easygoing father prefers to dream of effortless success and his native island's lushness. Featuring a new foreword by Edwidge Danticat, this coming-of-age tale grapples with identity, sexuality, and changing values in a new country, as a young woman must reconcile tradition with potential and change.

    For August and her girls, sharing confidences as they ambled through neighborhood streets, Brooklyn was a place where they believed that they were beautiful, talented, brilliant—a part of a future that belonged to them.But beneath the hopeful veneer, there was another Brooklyn, a dangerous place where grown men reached for innocent girls in dark hallways, where ghosts haunted the night, where mothers disappeared. A world where madness was just a sunset away and fathers found hope in religion.