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Introduction | |
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Slavery, Revolution, Renaissance | |
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Signs of Power: Nat Turner and Frederick Douglass | |
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San Domingo and Its Patriots | |
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Nat Turner, Thomas Gray, and the Phenomenology of Slavery | |
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Ibo Warriors | |
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Blackhead Signpost: Prophecy and Terror | |
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Frederick Douglass's Revisions | |
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Iron Sentences: Paternity, Literacy, Liberty | |
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Broken Fetters: The Right of Revolution | |
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Melville, Delany, and New World Slavery | |
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Memory, Authority, and the Shadowy Tableau | |
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The Play of the Barber | |
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Ashantee Conjurors: Africanisms and Africanization | |
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The Law of Nature or the Hive of Subtlety | |
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Caribbean Empires | |
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"It Is Wrote in Jeremiah": American Maroons | |
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Sugar, Conspiracy, and the Ladder | |
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El Dia de los Reyes | |
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The Color Line | |
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Mark Twain and Homer Plessy | |
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The Second Slavery | |
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The Badge of Servitude: Homer Plessy and the Rise of Segregation | |
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Blaspheming Colors, Extraordinary Twins | |
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A Whisper to the Reader | |
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Charles Chesnutt's Cakewalk | |
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The Origin of the Cakewalk | |
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Word Shadows and Alternating Sounds: Folklore, Dialect, and Vernacular | |
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Uncle Remus, Uncle Julius, and the New Negro | |
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"De Ole Times," Slave Culture, and Africa | |
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Talking Bones: Conjure and Narrative | |
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White Weeds: The Pathology of the Color Line | |
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Fusion: The Marrow of Tradition | |
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A Great Black Figure and a Doll | |
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W. E. B. Du Bois: African America and The Kingdom of Culture | |
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Swing Low: The Souls of Black Folk | |
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In the Kingdom of Culture | |
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"This Wonderful Music of Bondage" | |
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Bright Sparkles: Music and Text | |
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Black and Unknown Bards: A Theory of the Sorrow Songs | |
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The Spell of Africa | |
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The Color Line Belts the World | |
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"Ethiopia Shall Stretch Forth Her Hands": Toward Pan-Africanism | |
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Africa: The Hidden Self and the Pageant of Nationalism | |
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The Burden of Black Women | |
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The Black Christ and Other Prophets | |
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Notes | |
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Acknowledgments | |
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Index | |