The Introduction provides an overview of the history, practice, and future directions of the field. It considers the coherence and stability of the category of contemporary African American literature, examines multiple genealogies and questions of periodization, and describes varied aesthetic practices of grief and grievance, experimentation and play. Embedding African American cultural production within the fraught history of the last five decades, this chapter examines various forces shaping the creation of innovative genres, the turn to the afterlife of slavery, the pull toward protest, and the impact of new and expanded geographies and methods.

Brandi Brimmer follows the story of Fanny Whitney, an enslaved woman, who belonged to a community of men and women that was bound together by extended ties of kinship and other connections in Union-occupied areas of eastern North Carolina. Brimmer’s chapter pieces together the historical trajectory of widowhood for Black women in post–Civil War America. Using the case files of Fanny Whitney and other southern Black women who applied for survivors’ benefits after 1866, the year the federal government recognized “slave marriage” in pension law, this chapter asks what happened to the women and children Black soldiers depended on, left behind in freedmen’s camps, and reunited with after the war. Black women who were widows, she contends, pieced together their existence on a daily basis. Evidence from the pension files of Black Union widows in eastern North Carolina deepens our understanding of Black women’s lives and labors and sheds light on the ways they struggled to define widowhood for themselves. Brimmer expands the discourse regarding widowed Black women who used community and kinship networks to shape freedom.

This chapter traces the emergence of African American confinement literature in the contemporary African American literary tradition over the past six decades, paying careful attention to the subfield’s examination of racialized and gendered confinement in spaces that include but also extend beyond the carceral geographies of jail and prison. Highlighting the centrality of the literary work of former political prisoner and prison abolitionist Angela Y. Davis to the origins and development of this subfield, this chapter demonstrates how works of African American confinement literature fundamentally eclipse the narrow categorization of “prison writing.” These works explore confinement as both a complicated metaphor for and a recurring lived experience within socially and psychically constricting systems of anti-Black racism, gendered social control, racialized economic exploitation, political repression, and incarceration. In sum, authors of contemporary African American confinement literature draw compelling parallels between the confining racist and sexist institutions and practices from previous eras – such as slavery, the convict lease system, chain gang camps, peonage, lynching, and Jim Crow – and those that persist in the contemporary US carceral state, including racial profiling, state violence, prisoner abuse, policing, and the prison-industrial complex.

With a focus on the nineteenth century, this chapter shows the ways American essayists responded to the new possibilities of national and international travel in the modern age. Modernity offered the ideal conditions under which American travel essays could proliferate: developing infrastructures in transportation, communication, and the publication and distribution of books and periodicals; the growing commercial and imperial reach of the United States; rising literacy rates, which ensured a market for these texts; Old World tourism as a marker of elite and then middle-class identity; the status of Europe as a site of professional training; transatlantic networks of reformers; missionary activity in Asia and Africa; and hemispheric travel in the Americas. Travel writings were popular, a sign that they were performing significant cultural work. The tourist’s or expatriate’s provisional relationship to other peoples and places lent itself to the genre of the essay; this emphasis informed many travel essays. In rendering the interactions between consciousness and place, Americans pushed the boundaries of the genre, as travel essays blended with journalism, fiction, and autobiography.

Within the framework of the politicization of the personal, this chapter explores the essayistic writing of a loose group of socially conscious actors who belong to the political Left, a capacious category that includes leaders of the civil rights movement, the feminist movement, the New York Intellectuals, the New Left, the environmental movement, and groups with a range of progressive agendas. With a focus on the twentieth century, the wide variety of styles and themes of leftist prose writing is analyzed. The chapter dwells on the contributions of important figures such as Zora Neale Hurston, Randolph Bourne, Jane Addams, Irving Howe, Mary McCarthy, James Baldwin, Eldridge Cleaver, Noam Chomsky, Susan Sontag, N. Scott Momaday, Maxine Hong Kingston, Audre Lorde, Angela Davis, and Richard Rorty. As a form of "prose that thinks," the essay has been an excellent site of intellectual reckoning where writers may publicly take strong positions on various political and social issues, expressing these in a highly personal style.

This chapter highlights the importance of newspapers as essential publishing venues for American essayists during the 1880–1920 period. During this time, newspaper columns or editorials were some of the most powerful manifestations of the American essay. A new kind of personal essay emerged, revealing tensions between various categories: the genteel and the modern, progressivism and prejudice, subjectivity and objectivity. While essayistic objectivity aspired to provide verifiable evidence and to be “truthful” in its interpretations of the world, essayistic subjectivity attempted to engage the reader by means of the essayist’s own perceptions and experiences. Significantly, during this period, the essay sought new vessels for authorial subjectivity, be it in the form of fiction or nonfiction, expanding the possibilities of the personal essay. Important essayists, columnists, and editorialists of the period included H. L. Mencken, Anna Julia Cooper, Robert Benchley, Ida B. Wells, and Heywood Broun. For many of these writers, the political and personal are inseparable, and the essay often functions as a form of authorial mediation, of narrative outrage, and a call to social action.

This chapter centers on early American Pragmatist philosophers, such as Charles Sanders Peirce, William James, and John Dewey, and the abundance of essays they produced, outlining the fundamental tenets of pragmatism. From the beginning, the Pragmatists showed a special affinity for the essay. This genre of writing proved to be the perfect vehicle not simply to fashion and explore provisional truths but to drive home the case that truth is inherently provisional. James and other pragmatists saw thinking as a mode of action in the world, quite different from the standard dualism that separates “mind” from “matter.” Just as the noun essay calls to mind the verb form – to essay, attempt, or try – so pragmatism was for James less a philosophical position or ideology than a method or practice. For James and Dewey in particular, pragmatism helped explain how we use ideas and beliefs to achieve our aims and how we modify and adapt those ideas and beliefs as we test them in the contexts of our daily living and engagement with others. The chapter dwells on the most important pragmatist essays and shows the many ways these influenced later pragmatist-oriented philosophers, even up to today.

The complicated relationship between American and European cultural production, particularly in the nineteenth century, is the subject of this chapter. American essayists of this period were, on the one hand, greatly influenced by the literature and culture of Europe and sought to absorb its lessons into their own writing. On the other, these same essayists pushed back against the idea that European writing should be their primary influence. Instead, they frequently critiqued Europe from afar and sought to develop a new idiom and fresh form of expression unique to the United States. Writers like Washington Irving, Walt Whitman, Ralph Waldo Emerson, Margaret Fuller, Edgar Allan Poe, Frederick Douglass, Henry James, and Henry David Thoreau explored the many tensions between the United States and Europe in their essays and used them to debate the extent to which America should remain in Europe’s cultural shadow.

The history of American music writing – essays on music, criticism, reviews, pamphlets – is told in this chapter, beginning in the nineteenth century, when an identifiably American music still had not fully coalesced. The early twentieth century saw the arrival of strong music advocates and composer-writers who sought to create innovative music and write prolifically about these new sounds, for which they had become de facto evangelists. Early American music writers underscored the differences between American and European music. Essays on music took on an increasingly pedagogical function, teaching their readers about the intricacies and sometimes hidden features of new compositions. The earliest American music writing focused on classical music, but as jazz entered the scene, with its complex rules and unfamiliar rhythms and chord structures, a new cohort of essayists developed a language for writing about this American artform. Throughout the century, a more personal tone emerged in the music essay as composers, musicians, and music connoisseurs began to articulate their feelings, impressions, memories, and individual experiences.

This chapter explores the post–World War II period in the United States, charting the postwar feminist essay in three directions: first, as a site of consciousness-raising during feminism’s second wave; second, as a space for feminist critiques of feminisms during the so-called third wave; and third, in its contemporary iteration in a revived consciousness-raising context: the #MeToo essay. The chapter draws together formally and contextually diverse texts into a longer conversation about how the essay can be read as a politicized and politicizing literary form. These texts include nonfiction subgenres often thought to be subordinate to the essay: an article, a collectively authored set of papers, a prose poem, a memoir, and a victim impact statement. The chapter argues that what makes these texts “feminist” and “essays” – despite significant formal differences – is their shared engagement with critical, documentary, and experiential literary modes and their stakes in connecting the individual to politically invested collectives, past and future. These five essays explicitly address gender and contingent forces of oppression that both bond and trouble emancipatory collectives.