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Some of the most popular stories in nineteenth-century America were sensational tales of whites captured and enslaved in North Africa. White Slaves, African Masters for the first time gathers together a selection of these Barbary captivity narratives, which significantly influenced early American attitudes toward race, slavery, and nationalism.

Though Barbary privateers began to seize North American colonists as early as 1625, Barbary captivity narratives did not begin to flourish until after the American Revolution. During these years, stories of Barbary captivity forced the U.S. government to pay humiliating tributes to African rulers, stimulated the drive to create the U.S. Navy, and brought on America's first post-revolutionary war. These tales also were used both to justify and to vilify slavery.

The accounts collected here range from the 1798 tale of John Foss, who was ransomed by Thomas Jefferson's administration for tribute totaling a sixth of the annual federal budget, to the story of Ion Perdicaris, whose (probably staged) abduction in Tangier in 1904 prompted Theodore Roosevelt to send warships to Morocco and inspired the 1975 film The Wind and the Lion. Also included is the unusual story of Robert Adams, a light-skinned African American who was abducted by Arabs and used by them to hunt negro slaves; captured by black villagers who presumed he was white; then was sold back to a group of Arabs, from whom he was ransomed by a British diplomat.

Long out of print and never before anthologized, these fascinating tales open an entirely new chapter of early American literary history, and shed new light on the more familiar genres of Indian captivity narrative and American slave narrative.

Frances Foster's classic study of pre-Civil War American slave autobiography is now issued in an accessible paperback edition. The first book to represent these slave narratives as literary in the complete sense of the word, and the first study to call attention to the significance of gender in the narratives, Witnessing Slavery will be welcomed by both general readers and students of the American south, slavery, the Civil War, and race issues.

These essays offer readers vivid and varied evidence of the female response to recurring attempts by culture to artificially limit identity along the gendered lines of private and public experience. Calling on voices both familiar and little known, British and American, black and white, young and old, the essayists explore how women used life-writing as a means of both self-understanding and connection to a community of sympathetic others, real or imagined.

Members of the Lost Generation, American writers and artists who lived in Paris during the 1920s, continue to occupy an important place in our literary history. Rebelling against increased commercialism and the ebb of cosmopolitan society in early twentieth-century America, they rejected the culture of what Ernest Hemingway called a place of “broad lawns and narrow minds.”
      Much of what we know about these iconic literary figures comes from their own published letters and essays, revealing how adroitly they developed their own reputations by controlling the reception of their work. Surprisingly the literary world has paid less attention to their autobiographies.
      In Writing the Lost Generation, Craig Monk unlocks a series of neglected texts while reinvigorating our reading of more familiar ones. Well-known autobiographies by Malcolm Cowley, Ernest Hemingway, and Gertrude Stein are joined here by works from a variety of lesser-known—but still important—expatriate American writers, including Sylvia Beach, Alfred Kreymborg, Samuel Putnam, and Harold Stearns. By bringing together the self-reflective works of the Lost Generation and probing the ways the writers portrayed themselves, Monk provides an exciting and comprehensive overview of modernist expatriates from the United States.

Focusing on a series of autobiographical texts, published and private, well known and obscure, Writing the Pioneer Woman examines the writing of domestic life on the nineteenth-century North American frontier. In an attempt to determine the meanings found in the pioneer woman's everyday writings—from records of recipes to descriptions of washing floors—Janet Floyd explores domestic details in the autobiographical writing of British and Anglo-American female emigrants.

Floyd argues that the figure of the pioneer housewife has been a significant one within general cultural debates about the home and the domestic life of women, on both sides of the Atlantic. She looks at the varied ideological work performed by this figure over the last 150 years and at what the pioneer woman signifies and has signified in national cultural debates concerning womanhood and home.

The autobiographies under discussion are not only of homemaking but also of emigration. Equally, these texts are about the enterprise of emigration, with several of them written to advise prospective emigrants. Using the insights of diaspora and migration theory, Floyd shows that these writings portray a far subtler role for the pioneer woman than is suggested by previous scholars, who often see her either as participating directly in the overall domestication of colonial space or as being strictly marginal to that process.

Written in response to the highly critical discussion of the attitudes and activities of female "civilizers" within "New" Western history and postcolonial studies, Writing the Pioneer Woman will be a valuable addition to the burgeoning discussion of the literature of domesticity.