Zora Neale Hurston was highly engaged with the performing arts, both in her ethnographic research, as well as in her creative writing. As an anthropologist, she documented traditional Afrodiasporic dances and their roles in ritual during her travels to the Caribbean. Hurston would stage these dances in theatrical “folk revue” concerts that she would coordinate for the public. Hurston was also a prolific playwright, with her plays often incorporating songs that she knew from her own upbringing as well as her professional folklore research.
Frederick Henry Koch (1858-1942) was a professor and founder of the Carolina Playmakers at the University of North Carolina. Considered the "father of American folk drama", Koch encouraged Zora to move to North Carolina and informally study at UNC, where he served as a mentor to her.
Lorraine Hansberry (1930-1965) was an playwright and writer, most known for her being the first African-American woman to have authored a play performed on Broadway. This play, A Raisin in the Sun, centered on the lives of working class Black Chicagoans as they contend with racism, housing discrimination, and assimilation.
A Raisin in the Sun
by
"Never before, in the entire history of the American theater, has so much of the truth of Black people's lives been seen on the stage," observed James Baldwin shortly before A Raisin in the Sun opened on Broadway in 1959. This edition presents the fully restored, uncut version of Hansberry's landmark work with an introduction by Robert Nemiroff. Lorraine Hansberry's award-winning drama about the hopes and aspirations of a struggling, working-class family living on the South Side of Chicago connected profoundly with the psyche of Black America--and changed American theater forever. The play's title comes from a line in Langston Hughes's poem "Harlem," which warns that a dream deferred might "dry up/like a raisin in the sun." "The events of every passing year add resonance to A Raisin in the Sun," said The New York Times. "It is as if history is conspiring to make the play a classic."
Les Blancs: the Collected Last Plays
by
Here are Lorraine Hansberry's last three plays--Les Blancs, The Drinking Gourd, and What Use Are Flowers?--representing the capstone of her achievement. Includes a new preface by Jewell Gresham Nemiroff and a revised introduction by Margaret B. Wilkerson.
Gayl Jones (1949) is a novelist, poet, and playwright, whose works often incorporate themes of music, violence, and sexuality, focusing on the inner lives of Black women who have been driven towards madness as a result of continued exploitation.
Corregidora
by
Here is Gayl Jones's classic novel, the tale of blues singer Ursa, consumed by her hatred of the nineteenth-century slave master who fathered both her grandmother and mother.
Palmares
by
2022 Pulitzer Prize Finalist in Fiction A NPR BOOKS WE LOVE 2021 Selection A New York Times "Biggest New Books Coming Out in September" Selection · A New York Times Book Review Editors Choice Pick · A Guardian "50 Biggest Books of Autumn 2021" Selection · An Esquire "Best Books of Fall 2021" Selection · A Buzzfeed "Best Books Coming Out This Fall" Selection · A Bustle "Most Anticipated Books of September 2021" Selection · A LitHub "22 Novels You Need to Read This Fall" Selection · A Kirkus Reviews "16 Best Books to Read in September" Selection · A Root September "PageTurner" "This story shimmers. Shakes. Wails. Moves to rhythms long forgotten . . . in many ways: holy. [A] masterpiece."--The New York Times Book Review The epic rendering of a Black woman's journey through slavery and liberation, set in 17th-century colonial Brazil; the return of a major voice in American literature. First discovered and edited by Toni Morrison, Gayl Jones has been described as one of the great literary writers of the 20th century. Now, for the first time in over 20 years, Jones is ready to publish again. Palmares is the first of five new works by Gayl Jones to be published in the next two years, rewarding longtime fans and bringing her talent to a new generation of readers. Intricate and compelling, Palmares recounts the journey of Almeyda, a Black slave girl who comes of age on Portuguese plantations and escapes to a fugitive slave settlement called Palmares. Following its destruction, Almeyda embarks on a journey across colonial Brazil to find her husband, lost in battle. Her story brings to life a world impacted by greed, conquest, and colonial desire. She encounters a mad lexicographer, desperate to avoid military service; a village that praises a god living in a nearby cave; and a medicine woman who offers great magic, at a greater price. Combining the author's mastery of language and voice with her unique brand of mythology and magical realism, Jones reimagines the historical novel. The result is a sweeping saga spanning a quarter century, with vibrant settings and unforgettable characters, steeped in the rich oral tradition of its world. Of Gayl Jones, the New Yorker noted, "[Her] great achievement is to reckon with both history and interiority, and to collapse the boundary between them." Like nothing else before it, Palmares embodies this gift.
White Rat
by
The acclaimed author's first collection of stories, reissued to coincide with the paperback publication of her second and latest, Butter "Gayl Jones's work represents a watershed in American literature. From a literary standpoint, her form is impeccable . . . and as a Black woman writer, her truth-telling, filled with beauty, tragedy, humor, and incisiveness, is unmatched."-Imani Perry Gayl Jones has been described as one of the great literary writers of the 20th century and was recently a finalist for both the Pulitzer Prize and the National Book Award. This collection of short fiction was her third book, originally edited and published by Toni Morrison in 1977, and is reissued now alongside her second collection, Butter, in paperback for the first time. The collection contains 12 provocative tales that explore the emotional and mental terrain of a diverse cast of characters, from the innocent to the insane. In each, Jones displays her unflinching ability to dive into the most treacherous of psyches and circumstances- the title story examines the identity and relationship conundrums of a Black man who can pass for white, earning him the name "White Rat" as an infant; "The Women" follows a girl whose mother brings a line of female lovers to live in their home; "Jevata" details 18-year-old Freddy's relationship with the 50-year-old title character; "The Coke Factory" tracks the thoughts of a mentally-handicapped adolescent abandoned by his mother; and "Asylum" focuses on a woman having a nervous breakdown, trying to protect her dignity and her private parts as she enters an institution. In uncompromising prose, and dialect that veers from northern, educated tongues to down-home southern colloquialisms, Jones illuminates lives that society ignores, moving them to center stage.
Ntozake Shange (1948-2018) was a playwright and poet responsible for developing the "choreopoem"—a performance piece made up of a combination of poems and dance. Her works largely highlighted the experiences of Black women as they navigated misogynoir in their inner lives. She is best known for her Obie Award–winning choreopoem, for colored girls who have considered suicide / when the rainbow is enuf.
A Barnard College alumnus, Shange received her bachelor's degree in American Studies in 1970.
For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf
by
From its inception in California in 1974 to its highly acclaimed critical success at Joseph Papp’s Public Theater and on Broadway, the Obie Award–winning for colored girls who have considered suicide/when the rainbow is enuf has excited, inspired, and transformed audiences all over the country. Passionate and fearless, Shange’s words reveal what it meant to be of color and female in the twentieth century. First published in 1975, when it was praised by The New Yorker for “encompassing . . . every feeling and experience a woman has ever had,” for colored girls who have considered suicide/when the rainbow is enuf will be read and performed for generations to come. Here is the complete text, with stage directions, of a groundbreaking dramatic prose poem written in vivid and powerful language that resonates with unusual beauty in its fierce message to the world.
Lost in Language and Sound
by
A vibrant and vital collection that celebrates the three most important muses in the life and work of Ntozake Shange--language, music, and dance. In this deeply personal book, the celebrated writer reflects on what it means to be an artist, a woman,and a woman of color through a beautiful combination of memoir and essay. She describes where her love for creative forces began--in her childhood home, a place where imagination reigned and boredom wasn't allowed. The essays tell stories ranging from the poignant origin of her celebrated play "for colored girls" to why Shange needed to deconstruct the English language to make that production work, from the intensity of the female experience and the black experience as separate entities to the difficulty of living both lives simultaneously; from the intense love of jazz bestowed on her by her father to a similar obsession with dance, which came from her mother. With deep sincerity, attention, and her legendary candor, Shange's collection progresses from the public arena to the private, gathering along the way the passions and insights of an author who writes with "such exquisite care and beauty that anybody can relate to her message" (Clive Barnes,The New York Times).
Dance We Do
by
In her first posthumous work, the revered poet crafts a personal history of Black dance and captures the careers of legendary dancers along with her own rhythmic beginnings. Many learned of Ntozake Shange's ability to blend movement with words when her acclaimed choreopoem for colored girls who have considered suicide/when the rainbow is enuf made its way to Broadway in 1976, eventually winning an Obie Award the following year. But before she found fame as a writer, poet, performer, dancer, and storyteller, she was an untrained student who found her footing in others' classrooms. Dance We Do is a tribute to those who taught her and her passion for rhythm, movement, and dance. After 20 years of research, writing, and devotion, Ntozake Shange tells her history of Black dance through a series of portraits of the dancers who trained her, moved with her, and inspired her to share the power of the Black body with her audience. Shange celebrates and honors the contributions of the often unrecognized pioneers who continued the path Katherine Dunham paved through the twentieth century. Dance We Do features a stunning photo insert along with personal interviews with Mickey Davidson, Halifu Osumare, Camille Brown, and Dianne McIntyre. In what is now one of her final works, Ntozake Shange welcomes the reader into the world she loved best.