Brown wrote extensively as a journalist but was also a pioneer in other literary genres. His many groundbreaking works include Clotel, the first African American novel; The Escape: or, A Leap for Freedom, the first published African American play; Three Years in Europe, the first African American European travelogue; and The Negro in the American Rebellion, the first history of African American military service in the Civil War. Brown also wrote one of the most important fugitive slave narratives and a striking array of subsequent self-narratives so inventively shifting in content, form, and textual presentation as to place him second only to Frederick Douglass among nineteenth-century African American autobiographers.".
Widely considered the first African-American novelist, William Wells Brown's (ca. 1814-1884) 1853 novel, Clotel, or the President's Daughter, chronicled the fate of the daughter of Thomas Jefferson and his black housekeeper. Yet, in his own day, Brown was perhaps more important as a rousing orator, scholar, and cultural critic. He escaped from slavery in 1834 and worked on Lake Erie steamboats in Buffalo, New York, helping slaves escape into Canada and lecturing for the New York Anti-Slavery Society. After moving to Boston in 1847, he began writing his autobiography, The Narrative of William W. Brown. By 1850, the book had appeared in four American and five British editions and rivaled the popularity of Frederick Douglass's Narrative written two years earlier. Throughout the late 1840s and 50s, Brown continued to lecture to further the antislavery cause and wrote prolifically. In addition to Clotel, he published the first drama written by an African American and the first military history of African Americans. In his writings and speeches, William Wells Brown deliberately resists the tone of heroic resistance and eloquent outrage set by Frederick Douglass. Brown's rhetorical strategy involved telling stories of individuals and individual encounters in which the art of simple understatement and guileless self-presentation prevailed over cant, bullying, and hypocrisy. Brown's often humorous and deceptively artless tone appealed to politically active women who were claiming the moral high ground not only on questions of abolition but also on temperance and women's rights. Unlike Douglass, whose literary output can be described as a long conversation with the founding fathers and literary lions about freedom, liberty, and what it means to be an American, Brown emphasized-- with humor and a cosmopolitan gentility-- the concerns of middle class family life: education, parenting, and the damage that slavery was doing to American society. This volume, with a foreword by Henry Louis Gates, Jr., will introduce readers to Brown's lesser-known, but no less powerful works, placed in the context of the era's debates on slavery, gender, morality, and the discursive limits put on anti-slavery advocacy. The collection presents Brown's anti-slavery works and the contemporary response to them in light of Brown's own attention to the role of women writers and political advocates in this period. Garrett's and Robbins's introduction to these texts emphasizes Brown's awareness and even use of women's voices in political discourse as a way of distinguishing himself from other black male voices of the time. The selection of texts also demonstrates Brown's willingness to use and recycle any texts at hand-- including his own-- in order to appeal to his immediate audience or readership. While making Brown's more obviously political work available to a wider audience, the book reclaims Brown as an important black influence in the American nineteenth century.
Even a name by which to be known among men, slavery had denied me." A standout among slave testimonies, the Narrative of William W. Brown provides a revealing account of life as a slave in mid-19th century Missouri. Written with harrowing clarity and heart-breaking honesty, it is a striking account of the struggle to survive under slavery and the terrifying risks run by slaves trying to escape its grasp in antebellum America.
Narrative of William W. Brown, A Fugitive Slave / Clotel; or, the President's Daughter / The American Fugitive in Europe / The Escape; or, A Leap for Freedom
Narrative of William W. Brown, A Fugitive Slave / Clotel; or, the President's Daughter / The American Fugitive in Europe / The Escape; or, A Leap for Freedom
A showcase of the extraordinary career America’s first Black novelist and pivotal figure in African American literature “It is difficult to imagine any one of his contemporaries who contributed as much or as richly to so many genres.” —Henry Louis Gates Jr. Born a slave and kept functionally illiterate until he escaped at age nineteen, William Wells Brown (1814–1884) refashioned himself first as an agent of the Underground Railroad, then as an antislavery activist and self-taught orator, and finally as the author of a series of landmark works that made him, like Frederick Douglass, a foundational figure of African American literature. His controversial novel Clotel; or, the President’s Daughter (1853), a fictionalized account of the lives and struggles of Thomas Jefferson’s black daughters and granddaughters, is the first novel written by an African American. This Library of America volume brings it together with Brown’s other groundbreaking works: Narrative of William W. Brown: A Fugitive Slave, Written by Himself (1847), his first published book and an immediate bestseller, which describes his childhood, life in slavery, and eventual escape; later memoirs charting his life during the Civil War and Reconstruction; the first play (The Escape; or, A Leap for Freedom, 1858), travelogue (The American Fugitive in Europe, 1855), and history (The Black Man, His Antecedents, His Genius, and His Achievements, 1862) written by an African American; and eighteen speeches and public letters from the 1840s, 50s, and 60s, many collected here for the first time. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.
Born into slavery, Clotel is a white-passing woman who conceals her identity and uses a disguise to infiltrate a plantation to rescue her loved ones. It’s a story of survival that’s deeply rooted in the cruelest part of American history. Clotel and Althesa are the illegitimate daughters of Thomas Jefferson and a slave woman named Currer. Despite their father’s elite status, the girls are sold into slavery but attempt to use their fair complexions to their advantage. Clotel takes it a step further, dressing as a white man to emancipate her daughter who was sold against her will. Clotel; or, The President's Daughter: A Narrative of Slave Life in the United States is an American tragedy that explores generational trauma. William Wells Brown, who’s considered the first African American novelist, uses his personal experience to illustrate the horrors of bondage. It’s a heartbreaking tale that tests the undeniable power of the human spirit. With an eye-catching new cover, and professionally typeset manuscript, this edition of Clotel; or, The President's Daughter: A Narrative of Slave Life in the United States is both modern and readable.
Born a slave and kept functionally illiterate until he escaped at age nineteen, William Wells Brown (1814-1884) refashioned himself first as an agent of the Underground Railroad, then as an antislavery activist and self-taught orator, and finally as the author of a series of landmark works that made him, like Frederick Douglass, a foundational figure of African American literature. His controversial novel "Clotel; or, the President's Daughter "(1853), a fictionalized account of the lives and struggles of Thomas Jefferson's black daughters and granddaughters, is the first novel written by an African American. This Library of America volume brings it together with Brown's other groundbreaking works: " Narrative of William W. Brown: A Fugitive Slave, Written by Himself" (1847), his first published book and an immediate bestseller, which describes his childhood, life in slavery, and eventual escape; later memoirs charting his life during the Civil War and Reconstruction; the first play (T"he Escape; or, A Leap for Freedom," 1858), travelogue ("The American Fugitive in Europe," 1855), and history ("The Black Man, His Antecedents, His Genius, and His Achievements," 1862) written by an African American; and eighteen speeches and public letters from the 1840s, 50s, and 60s, many collected here for the first time.
The Black Man: His Antecedents, His Genius, and His Achievements is a book published in 1863 by William Wells Brown which sketches the lives of individuals Brown determined had by their "own genius, capacity, and intellectual development, surmounted the many obstacles which slavery and prejudice have thrown in their way, and raised themselves to positions of honor and influence.
Born into slavery, Clotel is a white-passing woman who conceals her identity and uses a disguise to infiltrate a plantation to rescue her loved ones. It's a story of survival that's deeply rooted in the cruelest part of American history. Clotel and Althesa are the illegitimate daughters of Thomas Jefferson and a slave woman named Currer. Despite their father's elite status, the girls are sold into slavery but attempt to use their fair complexions to their advantage. Clotel takes it a step further, dressing as a white man to emancipate her daughter who was sold against her will. Clotel; or, The President's Daughter: A Narrative of Slave Life in the United States is an American tragedy that explores generational trauma. William Wells Brown, who's considered the first African American novelist, uses his personal experience to illustrate the horrors of bondage. It's a heartbreaking tale that tests the undeniable power of the human spirit. With an eye-catching new cover, and professionally typeset manuscript, this edition of Clotel; or, The President's Daughter: A Narrative of Slave Life in the United States is both modern and readable.
As William Wells Brown's first published work and his most widely read autobiography, the 1847 Narrative occupies an important place within not only his oeuvre but also the broader African American literary tradition. Brown would draw directly from the text in many of his later works, among them Clotel, The Escape, and My Southern Home. Preceding this account of Brown's life, however, are two letters and a preface. The first letter William Wells Brown himself writes in thanks to "Wells Brown, of Ohio" (iii), while the second, written by Edmund Quincy, remarks upon the variety of Brown's experiences and praises the manuscript's "simplicity and calmness" (vi). Following J. C. Hathaway's Preface, largely an appeal on behalf of the abolitionist cause, Brown opens his narrative noting that his father was the white George Higgins, a relative of his master, and that his enslaved mother, Elizabeth, had given birth to seven children, each with a different father. In doing so, Brown immediately draws attention to the plight of mixed-race individuals as well as the tenuous nature of slave families.
The first published novel by a black American author combines real-life stories, including his own story of escaping slavery and recollections he heard while helping others escape, with abolitionist agitprop, revealing ephemera from the newspapers of the time, and sympathetic (if somewhat melodramatic) characters. What emerges from this collage is an indictment of slavery and of American hypocrisy about liberty that found an enthusiastic and enraged audience when it was published in 1853. Clotel has a complex publishing history, with four separate editions published between 1853 and 1867. These editions contain huge differences in characters and plotting, so much so that they might each be considered separate novels in their own right. This edition is based on the first edition of 1853.
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