Henry Louis Gates, Jr.

In his 1970 classic The Omni-Americans, Albert Murray (1916–2013) took aim at protest writers and social scientists who accentuated the “pathology” of race in American life. Against narratives of marginalization and victimhood, Murray argued that black art and culture, particularly jazz and blues, stand at the very headwaters of the American mainstream, and that much of what is best in American art embodies the “blues-hero tradition”— a heritage of grace, wit, and inspired improvisation in the face of adversity. Murray went on to refine these ideas in The Blue Devils of Nada and From the Briarpatch File, and all three landmark collections of essays are gathered here for the first time, together with Murray’s memoir South to a Very Old Place, his brilliant lecture series The Hero and the Blues, his masterpiece of jazz criticism Stomping the Blues, and eight previously uncollected pieces.

This Norton Critical Edition of Solomon Northup’s harrowing autobiography is based on the 1853 first edition. It is accompanied by Henry Louis Gates, Jr. and Kevin Burke’s introduction and detailed explanatory footnotes.

The Portable Nineteenth-Century African American Women Writers is the most comprehensive anthology of its kind: an extraordinary range of voices offering the expressions of African American women in print before, during, and after the Civil War. Edited by Hollis Robbins and Henry Louis Gates, Jr., this collection comprises work from forty-nine writers arranged into sections of memoir, poetry, and essays on feminism, education, and the legacy of African American women writers. Many of these pieces engage with social movements like abolition, women’s suffrage, temperance, and civil rights, but the thematic center is the intellect and personal ambition of African American women. The diverse selection includes well-known writers like Sojourner Truth, Hannah Crafts, and Harriet Jacobs, as well as lesser-known writers like Ella Sheppard, who offers a firsthand account of life in the world-famous Fisk Jubilee Singers. Taken together, these incredible works insist that the writing of African American women writers be read, remembered, and addressed.

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.

One of the leading cultural critics of his generation, Albert Murray was also the author of an extraordinary quartet of semi-autobiographical novels, vivid impressionistic portraits of black life in the Deep South in the 1920s and '30s and in prewar New York City. Train Whistle Guitar (1974) introduces Murray's recurring narrator and protagonist, Scooter, a "Southern jackrabbit raised in a briarpatch" too nimble ever to receive a scratch. Scooter's education in books, music, and the blue-steel bent-note blues-ballad realities of American life continues in The Spyglass Tree (1991), Murray's "Portrait of the Artist as a Tuskegee Undergraduate." The Seven League Boots (1996) follows Scooter as he becomes a bass player in a touring band not unlike Duke Ellington's, and The Magic Keys (2005), in which Scooter at last finds his true vocation as a writer in Greenwich Village, is an elegaic reverie on an artist's life. Editors Henry Louis Gates Jr. and Paul Devlin round out the volume with a selection of Murray's remarkable poems, including 11 unpublished pieces from his notebooks, and two rare examples of his work as a short story writer.

Award-winning historical slave-narrative drama directed by Steve McQueen and starring Chiwetel Ejiofor. The film follows the experience of Solomon Northup (Ejiofor), an African-American living with a wife and two children in Saratoga, New York, who is kidnapped and sold into slavery by men claiming to offer him work as a circus musician. Transported by ship to New Orleans, it isn't long before he is given a new name and sold to William Ford (Benedict Cumberbatch), a relatively empathetic slave owner. But confrontations with the cruel and violent overseer John Tibeats (Paul Dano) lead to Solomon being passed on by Ford to the extremely abusive and alcoholic planter Edwin Epps (Michael Fassbender), who rules his slaves with a whip in one hand and a Bible in the other. Believing the only hope of regaining his freedom is to remain passive for the time being, Solomon ceases fighting against the illegitimacy of his situation until salvation is offered to him by a kindly labourer named Bass (Brad Pitt). The film won three Academy Awards, including Best Picture, Best Supporting Actress (Lupita Nyong'o) and Best Adapted Screenplay, and won the Golden Globe for Best Motion Picture - Drama and BAFTAs for Best Leading Actor (Ejiofor) and Best Film.

Henry Louis Gates Jr. and his family travel by train from Zimbabwe to the village of Kilimatinde in Tanzania.

In this FRONTLINE report, correspondent Henry Louis Gates, Jr., a Harvard scholar, explores the gaping chasm between the upper and lower classes of black America and probes why it has happened: "How have we reached this point where we have both the largest black middle class and the largest black underclass in our history?"

In March 1997, social activist, former Black Panther, and author, Eldridge Cleaver sat down with Henry Louis Gates Jr. for a discussion of his life as a civil rights activist. It would be the last major interview Cleaver gave before his death in May 1998. This film draws on the 1997 interview, archival footage, and commentary from Cleaver's former wife Kathleen, as well as audio tapes of a 1975 interview that Gates did with Cleaver in Paris.