Winner of the 2018 NAACP Image Award for Outstanding Literary Work, Fiction These nearly 150 African American folktales animate our past and reclaim a lost cultural legacy to redefine American literature. Drawing from the great folklorists of the past while expanding African American lore with dozens of tales rarely seen before, The Annotated African American Folktales revolutionizes the canon like no other volume. Following in the tradition of such classics as Arthur Huff Fauset’s “Negro Folk Tales from the South” (1927), Zora Neale Hurston’s Mules and Men (1935), and Virginia Hamilton’s The People Could Fly (1985), acclaimed scholars Henry Louis Gates Jr. and Maria Tatar assemble a groundbreaking collection of folktales, myths, and legends that revitalizes a vibrant African American past to produce the most comprehensive and ambitious collection of African American folktales ever published in American literary history. Arguing for the value of these deceptively simple stories as part of a sophisticated, complex, and heterogeneous cultural heritage, Gates and Tatar show how these remarkable stories deserve a place alongside the classic works of African American literature, and American literature more broadly. Opening with two introductory essays and twenty seminal African tales as historical background, Gates and Tatar present nearly 150 African American stories, among them familiar Brer Rabbit classics, but also stories like “The Talking Skull” and “Witches Who Ride,” as well as out-of-print tales from the 1890s’ Southern Workman. Beginning with the figure of Anansi, the African trickster, master of improvisation—a spider who plots and weaves in scandalous ways—The Annotated African American Folktales then goes on to draw Caribbean and Creole tales into the orbit of the folkloric canon. It retrieves stories not seen since the Harlem Renaissance and brings back archival tales of “Negro folklore” that Booker T. Washington proclaimed had emanated from a “grapevine” that existed even before the American Revolution, stories brought over by slaves who had survived the Middle Passage. Furthermore, Gates and Tatar’s volume not only defines a new canon but reveals how these folktales were hijacked and misappropriated in previous incarnations, egregiously by Joel Chandler Harris, a Southern newspaperman, as well as by Walt Disney, who cannibalized and capitalized on Harris’s volumes by creating cartoon characters drawn from this African American lore. Presenting these tales with illuminating annotations and hundreds of revelatory illustrations, The Annotated African American Folktales reminds us that stories not only move, entertain, and instruct but, more fundamentally, inspire and keep hope alive. The Annotated African American Folktales includes: Introductory essays, nearly 150 African American stories, and 20 seminal African tales as historical background The familiar Brer Rabbit classics, as well as news-making vernacular tales from the 1890s’ Southern Workman An entire section of Caribbean and Latin American folktales that finally become incorporated into the canon Approximately 200 full-color, museum-quality images
This essential volume provides an overview of and introduction to African American writers and literary periods from its beginning through the 21st century. Provides an essential introduction to African American writers and topics, from the beginning of the 20th century into the 21st Covers the major authors and key topics in African American literature Gives students an accessible and approachable overview of African American literature
This book provides a rich connection between theory and practice for those seeking to work with stories in organisational, community, educative or coaching settings. With an international cast of contributors, it charters a unique inquiry into both ethics and the facilitation philosophies for working with stories supporting educators, facilitators, trainers and consultants towards more effective and considered practice. This book will be a valuable resource for professionals and reflective practitioners seeking to explore: What informs an ethics of facilitating with stories? How can we create safe spaces for story work? In what ways do we need to be attuned to power when working with stories in organisations and corporations? What are the unintended and ethical consequences of facilitating with stories?
This volume focuses on how music and arts in the global Africana world are used for political and social change. It will be an essential resource for scholars and students in African studies, Africana, Afro-Atlantic studies, diaspora studies, sociology, music, literature, politics and culture. The volume is divided into three sections, namely “Music and Politics”, “Case Studies of Experiential Practices in Healing and Education”, and “Literature, the Arts, and Political Expression”, which cross subject areas such as nationalism, political identity, post-coloniality, health, education, orality, and cultural expressivity. Diverse topics are covered, such as the African thematics of jazz, the Y’en a Marre/Fed Up movement in Senegal, the Occupy Nigeria movement, NGO activism in Brazil, and Africana performance traditions, as well as the dynamics of oral and written literature. The articles explore works by Joseph Conrad, Nathaniel Mackey, Kofi Awoonor, and Ngugi wa Thiong’o, as well as the artistic expression of Jean-Michel Basquiat.
This book serves as both a textbook and reference for faculty and students in LIS courses on storytelling and a professional guide for practicing librarians, particularly youth services librarians in public and school libraries. Storytelling: Art and Technique serves professors, students, and practitioners alike as a textbook, reference, and professional guide. It provides practical instruction and concrete examples of how to use the power of story to build literacy and presentation skills, as well as to create community in those same educational spaces. This text illustrates the value of storytelling, cover the history of storytelling in libraries, and offer valuable guidance for bringing stories to contemporary listeners, with detailed instructions on the selection, preparation, and presentation of stories. They also provide guidance around the planning and administration of a storytelling program. Topics include digital storytelling, open mics and slams, and the neuroscience of storytelling. An extensive and helpful section of resources for the storyteller is included in an expanded Part V of this edition. Offers readers a thorough overview of the role of story and storytelling in the library Gives a convincing argument for the value of storytelling Provides practical tips on selecting, preparing, and telling stories Presents insights on storytelling to specific populations, including children, young adults, and those with special needs Includes an extensive list of resources
World-renowned folklorist Maria Tatar reveals an astonishing but long buried history of heroines, taking us from Cassandra and Scheherazade to Nancy Drew and Wonder Woman. The Heroine with 1,001 Faces dismantles the cult of warrior heroes, revealing a secret history of heroinism at the very heart of our collective cultural imagination. Maria Tatar, a leading authority on fairy tales and folklore, explores how heroines, rarely wielding a sword and often deprived of a pen, have flown beneath the radar even as they have been bent on redemptive missions. Deploying the domestic crafts and using words as weapons, they have found ways to survive assaults and rescue others from harm, all while repairing the fraying edges in the fabric of their social worlds. Like the tongueless Philomela, who spins the tale of her rape into a tapestry, or Arachne, who portrays the misdeeds of the gods, they have discovered instruments for securing fairness in the storytelling circles where so-called women’s work—spinning, mending, and weaving—is carried out. Tatar challenges the canonical models of heroism in Joseph Campbell’s The Hero with a Thousand Faces, with their male-centric emphases on achieving glory and immortality. Finding the women missing from his account and defining their own heroic trajectories is no easy task, for Campbell created the playbook for Hollywood directors. Audiences around the world have willingly surrendered to the lure of quest narratives and charismatic heroes. Whether in the form of Frodo, Luke Skywalker, or Harry Potter, Campbell’s archetypical hero has dominated more than the box office. In a broad-ranging volume that moves with ease from the local to the global, Tatar demonstrates how our new heroines wear their curiosity as a badge of honor rather than a mark of shame, and how their “mischief making” evidences compassion and concern. From Bluebeard’s wife to Nancy Drew, and from Jane Eyre to Janie Crawford, women have long crafted stories to broadcast offenses in the pursuit of social justice. Girls, too, have now precociously stepped up to the plate, with Hermione Granger, Katniss Everdeen, and Starr Carter as trickster figures enacting their own forms of extrajudicial justice. Their quests may not take the traditional form of a “hero’s journey,” but they reveal the value of courage, defiance, and, above all, care. “By turns dazzling and chilling” (Ruth Franklin), The Heroine with 1,001 Faces creates a luminous arc that takes us from ancient times to the present day. It casts an unusually wide net, expanding the canon and thinking capaciously in global terms, breaking down the boundaries of genre, and displaying a sovereign command of cultural context. This, then, is a historic volume that informs our present and its newfound investment in empathy and social justice like no other work of recent cultural history.
Virginia Woolf’s groundbreaking novel, in a lushly illustrated hardcover edition with illuminating commentary from a brilliant young Oxford scholar and critic. “Mrs. Dalloway said she would buy the flowers herself.” So begins Virginia Woolf’s much-beloved fourth novel. First published in 1925, Mrs. Dalloway has long been viewed not only as Woolf’s masterpiece, but as a pivotal work of literary modernism and one of the most significant and influential novels of the twentieth century. In this visually powerful annotated edition, acclaimed Oxford don and literary critic Merve Emre gives us an authoritative version of this landmark novel, supporting it with generous commentary that reveals Woolf’s aesthetic and political ambitions—in Mrs. Dalloway and beyond—as never before. Mrs. Dalloway famously takes place over the course of a single day in late June, its plot centering on the upper-class Londoner Clarissa Dalloway, who is preparing to throw a party that evening for the nation’s elite. But the novel is complicated by Woolf’s satire of the English social system, and by her groundbreaking representation of consciousness. The events of the novel flow through the minds and thoughts of Clarissa and her former lover Peter Walsh and others in their circle, but also through shopkeepers and servants, among others. Together Woolf’s characters—each a jumble of memories and perceptions—create a broad portrait of a city and society transformed by the Great War in ways subtle but profound ways. No figure has been more directly shaped by the conflict than the disturbed veteran Septimus Smith, who is plagued by hallucinations of a friend who died in battle, and who becomes the unexpected second hinge of the novel, alongside Clarissa, even though—in one of Woolf’s many radical decisions—the two never meet. Emre’s extensive introduction and annotations follow the evolution of Clarissa Dalloway—based on an apparently conventional but actually quite complex acquaintance of Woolf’s—and Septimus Smith from earlier short stories and drafts of Mrs. Dalloway to their emergence into the distinctive forms devoted readers of the novel know so well. For Clarissa, Septimus, and her other creations, Woolf relied on the skill of “character reading,” her technique for bridging the gap between life and fiction, reality and representation. As Emre writes, Woolf’s “approach to representing character involved burrowing deep into the processes of consciousness, and, so submerged, illuminating the infinite variety of sensation and perception concealed therein. From these depths, she extracted an unlimited capacity for life.” It is in Woolf’s characters, fundamentally unknowable but fundamentally alive, that the enduring achievement of her art is most apparent. For decades, Woolf’s rapturous style and vision of individual consciousness have challenged and inspired readers, novelists, and scholars alike. The Annotated Mrs. Dalloway, featuring 150 illustrations, draws on decades of Woolf scholarship as well as countless primary sources, including Woolf’s private diaries and notes on writing. The result is not only a transporting edition of Mrs. Dalloway, but an essential volume for Woolf devotees and an incomparable gift to all lovers of literature.
A lone man wanders from swamp to swamp searching for himself, a wolf-girl visits Wales and eats the sheep, a Welsh criminal marries an 'Indian Princess', Lakota men re-enact the Wounded Knee Massacre in Cardiff and, all the while, mountain women practise Appalachian hoodoo, native healing and Welsh witchcraft. These stories are a mixture of true tales, tall tales and folk tales, that tell of the lives of migrants who left Wales and settled in America, of the native and enslaved people who had long been living there, and those curious travellers who returned to find their roots in the old country. They were explorers, miners, dreamers, hobos, tourists, farmers, radicals, showmen, sailors, soldiers, witches, warriors, poets, preachers, prospectors, political dissidents, social reformers, and wayfaring strangers. The Cherokee called them: 'the Moon-Eyed People.'
A magnificent and richly illustrated volume?with a groundbreaking translation framed by new commentary and hundreds of images—of the most famous story collection of all time. A cornerstone of world literature and a monument to the power of storytelling, the Arabian Nights has inspired countless authors, from Charles Dickens and Edgar Allan Poe to Naguib Mahfouz, Clarice Lispector, and Angela Carter. Now, in this lavishly designed and illustrated edition of The Annotated Arabian Nights, the acclaimed literary historian Paulo Lemos Horta and the brilliant poet and translator Yasmine Seale present a splendid new selection of tales from the Nights, featuring treasured original stories as well as later additions including “Aladdin and the Wonderful Lamp” and “Ali Baba and the Forty Thieves,” and definitively bringing the Nights out of Victorian antiquarianism and into the twenty-first century. For centuries, readers have been haunted by the homicidal King Shahriyar, thrilled by gripping tales of Sinbad’s seafaring adventures, and held utterly, exquisitely captive by Shahrazad’s stories of passionate romances and otherworldly escapades. Yet for too long, the English-speaking world has relied on dated translations by Richard Burton, Edward Lane, and other nineteenth-century adventurers. Seale’s distinctly contemporary and lyrical translations break decisively with this masculine dynasty, finally stripping away the deliberate exoticism of Orientalist renderings while reclaiming the vitality and delight of the stories, as she works with equal skill in both Arabic and French. Included within are famous tales, from “The Story of Sinbad the Sailor” to “The Story of the Fisherman and the Jinni,” as well as lesser-known stories such as “The Story of Dalila the Crafty,” in which the cunning heroine takes readers into the everyday life of merchants and shopkeepers in a crowded metropolis, and “The Story of the Merchant and the Jinni,” an example of a ransom frame tale in which stories are exchanged to save a life. Grounded in the latest scholarship, The Annotated Arabian Nights also incorporates the Hanna Diyab stories, for centuries seen as French forgeries but now acknowledged, largely as a result of Horta’s pathbreaking research, as being firmly rooted in the Arabic narrative tradition. Horta not only takes us into the astonishing twists and turns of the stories’ evolution. He also offers comprehensive notes on just about everything readers need to know to appreciate the tales in context, and guides us through the origins of ghouls, jinn, and other supernatural elements that have always drawn in and delighted readers. Beautifully illustrated throughout with art from Europe and the Arab and Persian world, the latter often ignored in English-language editions, The Annotated Arabian Nights expands the visual dimensions of the stories, revealing how the Nights have always been—and still are—in dialogue with fine artists. With a poignant autobiographical foreword from best-selling novelist Omar El Akkad and an illuminating afterword on the Middle Eastern roots of Hanna Diyab’s tales from noted scholar Robert Irwin, Horta and Seale have created a stunning edition of the Arabian Nights that will enchant and inform both devoted and novice readers alike.