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| Acknowledgments | |
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| Introduction | |
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| Reimagining the Past | |
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| Creative Collaboration: As African American as Sweet Potato Pie | |
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| Commemorative Ceremonies and Invented Traditions: History, Memory, and Modernity in the "New Negro" Novel of the Nadir | |
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| Meeting Freedom: Self-Invention, Artistic Innovation, and Race Progress (1870s-1880s) | |
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| Landscapes of Labor: Race, Religion, and Rhode Island in the Painting of Edward Mitchell Bannister | |
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| "Manly Husbands and Womanly Wives": The Leadership of Educator Lucy Craft Laney | |
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| Old and New Issue Servants: "Race" Men and Women Weigh In | |
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| Savannah's Colored Tribune, the Reverend E. K. Love, and the Sacred Rebellion of Uplift | |
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| Encountering Jim Crow: African American Literature and the Mainstream (1890s) | |
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| A Marginal Man in Black Bohemia: James Weldon Johnson in the New York Tenderloin | |
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| Jamming with Julius: Charles Chesnutt and the Post-Bellum-Pre-Harlem Blues | |
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| Rewriting Dunbar: Realism, Black Women Poets, and the Genteel | |
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| Inventing a "Negro Literature": Race, Dialect, and Gender in the Early Work of Paul Laurence Dunbar, James Weldon Johnson, and Alice Dunbar-Nelson | |
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| Turning the Century: New Political, Cultural, and Personal Aesthetics (1900-1917) | |
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| No Excuses for Our Dirt: Booker T. Washington and a "New Negro" Middle Class | |
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| War Work, Social Work, Community Work: Alice Dunbar-Nelson, Federal War Work Agencies, and Southern African American Women | |
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| Antilynching Plays: Angelina Weld Grimke, Alice Dunbar-Nelson, and the Evolution of African American Drama | |
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| Henry Ossawa Tanner and W. E. B. Du Bois: African American Art and "High Culture" at the Turn into the Twentieth Century | |
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| The Folk, the School, and the Marketplace: Locations of Culture in The Souls of Black Folk | |
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| Topical List of Selected Works | |
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| About the Contributors | |
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| Index | |