By Emmanuel S. Nelson

There's starting to be well known and scholarly curiosity in autobiography, in addition to expanding regard for the achievements of African American writers. the 1st reference of its type, this quantity chronicles the autobiographical culture in African American literature. integrated are alphabetically prepared entries for sixty six African American authors who current autobiographical fabric of their works. the quantity profiles significant figures, similar to Frederick Douglass, Zora Neale Hurston, Richard Wright, Maya Angelou, James Baldwin, and Malcolm X, in addition to many lesser recognized autobiographers who deserve larger consciousness. whereas a few are recognized essentially for his or her literary accomplishments, others have received approval for their different contributions to society.The entries are written through professional participants and supply authoritative information regarding their topics. every one starts with a concise biography, which summarizes the lifestyles and achievements of the autobiographer. this is often through a dialogue of significant autobiographical works and topics, in addition to an outline of the autobiographer's severe reception. The entries shut with fundamental and secondary bibliographies, and a particular, common bibliography concludes the quantity. jointly, the entries supply a close portrait of the African American autobiographical culture from the 18th century to the current.

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34 (November 1988): 1031–33. 10 (1974): 10–18. ” Intellectual Digest (June 1973): 18–21. ” New York Times, January 20, 1993, C1, C8.  Ed.  23–41. 116 (Fall 1990): 145–67.  An important aspect of Go Tell It on the Mountain are the themes of identity and the redemptive power of love, which will continue to resonate in Baldwin’s subsequent works.  Included in the collection was an earlier controversial piece, “Everybody’s Protest Novel,” published in 1949 in Zero, in which he attacked friend and mentor Richard Wright* and the whole genre of protest novels (Gates and McKay 1651– 52).

1–2 (Spring–Summer 1985): 51–61. 2758 (1984): 26.  New York: HarperCollins, 1992. 3 (1996): 61–68.  37. 2 (May 1976): 106–11. 1 (June 1990): 12–14.  New York: Peter Lang, 1990. ” Simone de Beauvoir Studies 6 (1989): 49–55.  Detroit: Gale Research, 1989. 4–5 (1982): 48–49.  in Bloom, Maya Angelou 173–80.  in Bloom, Maya Angelou 25–40.  in Bloom, Maya Angelou 191–218.  in Bloom, Maya Angelou 41–54.  30.  Southern Literary Journal (December 1981): 88. 9 (July 1975): 52, 61. ” Genre 16 (1995): 183–91.

4 (November 1970): 681–82.  in Andrews, African American Autobiography 162–70.  in Bloom, Maya Angelou 113–24.  San Diego: Greenhaven Press, 1997. ” Book World—The Washington Post (October 4, 1991): 1–2. ” In Autobiographical Voices: Race, Gender, Self­Portraiture.  in Bloom, Maya Angelou 143–72.  Springfield, NJ: Enslow, 1996.  1–19.  Westport, CT: Greenwood Press, 1998.  in Bloom, Maya Angelou 173–90. 1–2 (Spring–Summer 1985): 51–61. 2758 (1984): 26.  New York: HarperCollins, 1992. 3 (1996): 61–68.

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