We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
This chapter provides background information about the literary mode known as regionalism and explains what is queer about New England regionalism. It analyzes White-authored New England regionalist fiction from the 1865-1915 period, using Sarah Orne Jewett’s novel Deephaven as its primary example, to argue that White-authored New England regionalism imagines independent, queer lives for White women characters, living outside of the heteronuclear family. The chapter then turns to examine the underacknowledged African-American women’s tradition of New England regionalism, a tradition that reworks conventions of the earlier, White-dominated one. This African-American tradition begins in the nineteenth century and extends well into the twentieth: Harriet Wilson, Pauline Elizabeth Hopkins, Dorothy West, and Ann Petry all limn the contours of New England life for Black women, engaging and claiming an inheritance of defiant, queer New England character while exploring the limitations and violence of that inheritance when understood as only available to White people.
Watch Night began when enslaved and free African Americans kept vigil, to sing and pray, on December 31, 1862, as they awaited news in the morning of the Emancipation Proclamation. Their optimism gave way to the nominal freedoms and rights of citizenship that African American families and communities experienced in the wake of emancipation and during Reconstruction. African American writers of these decades introduce descriptions of African landscapes, customs, values, and histories as metaphors for the uncertain status and tentative futures their people confronted after the Civil War and during Reconstruction. They associate the African continent with a variety of meanings: the brutal history of slavery; the erasure or dismissal of influential cultures and intellects; a persistent legacy of resistance to oppression and rebellion against bondage; the fugitive status of African Americans in their own country and as exiles abroad; and the precarity of racial progress even as Black schools, churches, and other self-sufficient institutions are established by formerly enslaved Black southern communities.
Recommend this
Email your librarian or administrator to recommend adding this to your organisation's collection.