By Emmanuel S. Nelson
There's growing 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 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 amount profiles significant figures, resembling Frederick Douglass, Zora Neale Hurston, Richard Wright, Maya Angelou, James Baldwin, and Malcolm X, in addition to many lesser identified autobiographers who deserve higher awareness. whereas a few are recognized essentially for his or her literary accomplishments, others have won popularity of their diversified contributions to society.The entries are written through professional individuals and supply authoritative information regarding their topics. every one starts off with a concise biography, which summarizes the existence and achievements of the autobiographer. this can be through a dialogue of significant autobiographical works and topics, besides an summary 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 offer a close portrait of the African American autobiographical culture from the 18th century to the current.
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Additional info for African American autobiographers: a sourcebook
However, a positive review by Annie Gottlieb praises Angelou’s ability to write “like a song, and like the truth …the product of a born writer’s senses nourished on black church singing… and on literature” (in Leone, Readings on Maya Angelou 129). Cudjoe maintains that in Singin’ and Swingin’ Angelou now successfully addresses the question of “what it means to be Black and person in America” through the “writer work[ing] out her relationship with the white American world’’ (69–70). 64, 36). Finally, analyzing all five volumes of the narrative in respect to the autobiographical tradition, Lupton’s essay “Singing the Black Mother: Maya Angelou and Autobiographical Continuity” concludes: [T]he volumes are intricately related through a number of essential elements: the ambivalent autobiographical voice, the flexibility of structure to echo the life process, the intertextual commentary on character and theme, and the use of certain recurring patterns to establish both continuity and continuation.
Philadelphia: Chelsea House, 1999. 291–303. 17 (1981): 1919. 1–7. in Bloom, Maya Angelou 125–42. 1 (Spring 1991): 95–108. Amherst: University of Massachusetts Press, 1974. Best Sellers (January 1982): 376–77. ” Publications of the Mississippi Philological Association (1996): 6–12. 36. ’ ” New Directions (Howard University Publication) (October 1986): 22–27. 2 (Winter 1986): 36–39. in Bloom, Maya Angelou 55–74. New York: Meridian, 1990. 272–306. 3 (October 1991): 64–79. ” English Journal 74 (March 1985): 34–37.
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.