By Emmanuel S. Nelson
There's transforming into renowned and scholarly curiosity in autobiography, in addition to expanding regard for the achievements of African American writers. the 1st reference of its style, 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, akin to Frederick Douglass, Zora Neale Hurston, Richard Wright, Maya Angelou, James Baldwin, and Malcolm X, besides many lesser identified autobiographers who deserve larger cognizance. whereas a few are identified essentially for his or her literary accomplishments, others have received approval for their varied contributions to society.The entries are written via specialist participants and supply authoritative information regarding their matters. each one starts with a concise biography, which summarizes the lifestyles and achievements of the autobiographer. this is often by means of a dialogue of significant autobiographical works and subject matters, besides an outline of the autobiographer's severe reception. The entries shut with fundamental and secondary bibliographies, and a particular, common bibliography concludes the amount. jointly, the entries offer a close portrait of the African American autobiographical culture from the 18th century to the current.
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Negro History Bulletin 40 (1977): 694–95. Jackson: University Press of Mississippi, 1989. 1 (Spring 1993): 9–18. Garden City, NY: Anchor Press, 1984. 2 (Summer 1990): 221–36. 36. in Bloom, Maya Angelou 91–112. ” Book World—The Washington Post (May 1986): 11–12. New York: Meridian, 1990. 1 (Spring 1987): 39–50. New York: Simon and Schuster, 1989. Readings on Maya Angelou 128– 29. Southern Literary Journal (August 1986): 113. 1 (Spring 1990): 5–20. Library Journal 16 (March 1970): 1018.
Page 14 who critiqued her literary skills and offered valuable advice, such as “Write each sentence over and over again, until it seems you’ve used every combination possible, then write it again” (Heart of a Woman 44). , Malcolm X,* and Vusumzi Make, a South African freedom fighter who became her second husband. Two days after arriving in Ghana, her son Guy was critically injured in an automobile accident. The middle passage and the auction block had not erased us” (207). Angelou reiterates this hope at the Page 15 conclusion of All God’s Children Need Traveling Shoes: “Through the centuries of despair and dislocation, we had been creative, because we faced down death by daring to hope” (207).
210–33. 1 (1976): 5–7. 3 (1991): 172–75. New York: Greenwood Press, 1988. 75–85. Tuscaloosa: University of Alabama Press, 1990. Bloomington: Indiana University Press, 1980. 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.