In Unchained Voices, Vincent Carretta has assembled the most comprehensive anthology ever published of writings by eighteenth-century people of African descent, enabling many of these authors to be heard for the first time in two centuries.Their writings reflect the surprisingly diverse experiences of blacks on both sides of the Atlantic-America, Britain, the West Indies, and Africa-between 1760 and 1798. Letters, poems, captivity narratives, petitions, criminal autobiographies, economic treatises, travel accounts, and antislavery arguments were produced during a time of various and changing political and religious loyalties. Although the theme of liberation from physical or spiritual captivity runs throughout the collection, freedom also clearly led to hardship and disappointment for a number of these authors.Briton Hammon, James Albert Ukawsaw Gronniosaw, John Marrant, Ignatius Sancho, Ottobah Cugoano, and Olaudah Equiano told their stories as Afro-Britons who recognized the sovereignty of George III; Johnson Green, Belinda, Benjamin Banneker, and Venture Smith spoke and wrote as African Americans n the United States; Phillis Wheatley, initially an Afro-British poet, later chose an African American identity; Francis Williams and George Liele wrote in Jamaica; David George and Boston King, having served with the British forces in the American Revolution and later lived in Canada, composed their narratives as British subjects in the newly established settlement in Sierra Leone, Africa.In his introduction, Carretta reconstructs the historical and cultural context of the works, emphasizing the constraints of the eighteenth-century genres under which these authors wrote. The texts and annotations are based on extensive research in both published and manuscript holdings of archives in the United States and the United Kingdom. Appropriate for undergraduates as well as for scholars, Unchained Voices gives a clear sense of the major literary and cultural issues at the heart of African literature written in English.

A complete edition of all the texts in the Ugaritic Data Bank. A concordance is available separately. A valuable tool for every Ugaritic scholar.

A complete edition of all the texts in the Ugaritic Data Bank. A concordance is available separately. A valuable tool for every Ugaritic scholar.

A complete edition of all the texts in the Ugaritic Data Bank. A concordance is available separately. A valuable tool for every Ugaritic scholar.

A complete edition of all the texts in the Ugaritic Data Bank. A concordance is available separately. A valuable tool for every Ugaritic scholar.

A complete edition of all the texts in the Ugaritic Data Bank. A concordance is available separately. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

There is a proverb in China, hu kou ba ya, literally “pulling teeth from a tiger's mouth,” used to describe any extremely difficult task. When Shao Wei first arrived in the United States at age thirty-one, her desire to write poems in English seemed almost impossible. Pulling a Dragon's Teeth, a first stop on the successful journey toward that goal, is filled with the rhythms and visions of this exciting young poet. Shuttling between her childhood in a small mountain city on the shores of the Yangtze River (soon to be flooded by the Three Gorges Dam Project) and adulthood in Manhattan, Shao Weicaptures the pains and joys of tradition and displacement familiar to any immigrant. Blending fairy tales, New York images, family stories, and the universal rites of passage associated with growing up, she paints a vibrant canvas of passion and imagination.

Published in 1890, Caesar's Column is an account of a trip to New York City in 1988 by a visitor from the Swiss colony of Uganda. The great metropolis dazzles with its futuristic technology, but its ostentatious wealth and luxury mask the brutal repression of the laboring classes by their rich bosses. The workers, aided by international terrorists, stage a violent revolt and the narrator flees the devastated city by airship to found an agrarian utopia in Africa. Fueled by outrage at social conditions, Caesar's Column was the first major dystopian novel in the English language. Its author, Ignatius Donnelly, was the most famous-and controversial-American populist politician of the day, and his book became a huge bestseller and was often compared to such utopian works as Edward Bellamy's Looking Backward (1888) and William Morris's News from Nowhere (1890). This Wesleyan edition includes an insightful introduction and notes by Nicholas Ruddick.

Poet and visual artist Faye Kicknosway presents both new works and twenty-five years of celebrated verse and illustration in her latest volume, Mixed Plate: New and Selected Poems. The poems mine common speech, folklore, film, the grotesque and the ordinary with unapologetic candor and ferocious intimacy. They are a testament to the power of contemporary monologue, filled with surprising inversions and unique takes on the risk of opening the front door. Cutting musically to the quick of a situation, each is filled with surprise, horror and, as they add up, moral consequence.

In a poetic voice that is at once reflective and lively, Sandra Kohler explores the patterns of everyday life and the inner drama of imagination. Though these poems are mostly set amidst the familiarity of a suburban household and the family garden, this environment appears far from mundane as Kohler peels away the veneer of domestic tranquility to reveal a world busy with human passion and the rhythms of the earth. Nature is present at every turn, an ethereal twin, as the narrator’s emotions take the form of cardinals in flight, a rushing river, or a potato sprouting from the dark.