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F.B. Eyes
How FBI surveillance influenced African American writing Few institutions seem more opposed than African American literature and J. Edgar Hoover's white-bread Federal Bureau of Investigation. But behind the scenes the FBI's hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau’s intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem’s renaissance and Hoover’s career at the Bureau, secretive FBI "ghostreaders" monitored the latest developments in African American letters. By the time of Hoover’s deat...
New Negro, Old Left
Maxwell uncovers both black literature's debt to Communism and Communism's debt to black literature, reciprocal obligations first incurred during the Harlem Renaissance.
James Baldwin
Available in book form for the first time, the FBI's secret dossier on the legendary and controversial writer. Decades before Black Lives Matter returned James Baldwin to prominence, J. Edgar Hoover’s FBI considered the Harlem-born author the most powerful broker between black art and black power. Baldwin’s 1,884-page FBI file, covering the period from 1958 to 1974, was the largest compiled on any African American artist of the Civil Rights era. This collection of once-secret documents, never before published in book form, captures the FBI’s anxious tracking of Baldwin’s writings, phone conversations, and sexual habits—and Baldwin’s defiant efforts to spy back at Hoover and his G...
Complete Poems
Containing more than three hundred poems, including nearly a hundred previously unpublished works, this unique collection showcases the intellectual range of Claude McKay (1889-1948), the Jamaican-born poet and novelist whose life and work were marked by restless travel and steadfast social protest. McKay's first poems were composed in rural Jamaican creole and launched his lifelong commitment to representing everyday black culture from the bottom up. Migrating to New York, he reinvigorated the English sonnet and helped spark the Harlem Renaissance with poems such as "If We Must Die." After coming under scrutiny for his communism, he traveled throughout Europe and North Africa for twelve years and returned to Harlem in 1934, having denounced Stalin's Soviet Union. By then, McKay's pristine "violent sonnets" were giving way to confessional lyrics informed by his newfound Catholicism. McKay's verse eludes easy definition, yet this complete anthology, vividly introduced and carefully annotated by William J. Maxwell, acquaints readers with the full transnational evolution of a major voice in twentieth-century poetry.
Romance in Marseille
The pioneering novel of physical disability, transatlantic travel, and black international politics. A vital document of black modernism and one of the earliest overtly queer fictions in the African American tradition. Published for the first time. A Penguin Classic A New York Times Book Review Editors' Choice/Staff Pick Vulture's Ten Best Books of 2020 pick Buried in the archive for almost ninety years, Claude McKay's Romance in Marseille traces the adventures of a rowdy troupe of dockworkers, prostitutes, and political organizers--collectively straight and queer, disabled and able-bodied, African, European, Caribbean, and American. Set largely in the culture-blending Vieux Port of Marseill...
So Long, See You Tomorrow
Discover this extraordinary and beautiful novel from one of America's greatest novelists. In rural Illinois two tenant farmers share much, finally too much, until jealously leads to murder and suicide. A tenuous friendship between lonely teenagers - the narrator, whose mother has died young, and Cletus Smith, the troubled witness to his parent's misery - is shattered. After the murder and upheavals that follow, the boys never speak again. Fifty years on, the narrator attempts a reconstruction of those devastating events and the atonement of a lifetime's regret. **One of the BBC’s 100 Novels That Shaped Our World**
What There Is to Say We Have Said
Letters revealing a lost literary world—and a unique friendship between a brilliant author and a New Yorker editor. For over fifty years, Eudora Welty and William Maxwell, two of our most admired writers, penned letters to each other. They shared their worries about work and family, literary opinions and scuttlebutt, and moments of despair and hilarity. Living half a continent apart, their friendship was nourished and maintained by their correspondence. What There Is to Say We Have Said bears witness to Welty and Maxwell’s editorial relationship—both in Maxwell’s capacity as New Yorker editor and in their collegial back-and-forth on their work. It’s also a chronicle of the literary...
A William Maxwell Portrait
Writers who knew and were inspired by William Maxwell--revered as one of the 20th century's great American writers--offer intimate essays, most specifically written for this volume.
Finks
When news broke that the CIA had colluded with literary magazines to produce cultural propaganda throughout the Cold War, a debate began that has never been resolved. The story continues to unfold, with the reputations of some of America’s best-loved literary figures—including Peter Matthiessen, George Plimpton, and Richard Wright—tarnished as their work for the intelligence agency has come to light. Finks is a tale of two CIAs, and how they blurred the line between propaganda and literature. One CIA created literary magazines that promoted American and European writers and cultural freedom, while the other toppled governments, using assassination and censorship as political tools. Def...
