Hagars Daughters

Hagar’s Daughter is Pauline Elizabeth Hopkins’s first serial novel, published in the Boston-based Colored American Magazine (1901-02). The novel features concealed and mistaken identities, dramatic revelations, and extraordinary plot twists, including a high-profile murder trial, an abduction plot, and a steady succession of surprises as the young black maid Venus Johnson assumes male clothing to solve a series of mysteries. Because Hagar’s Daughter demonstrates Hopkins’s keen sense of history, use of multiple literary genres, emphasis on gender roles, and political engagement, it provides the perfect introduction to the author and her era. In the appendices to this Broadview Edition, advertising, other writing by Hopkins and her contemporaries, and reviews situate the work within the popular literature and political culture of its time.

In fourteen sweeping and sublime stories, five of which have been published in The New Yorker, the bestselling and Pulitzer Prize-winning author of The Known World shows that his grasp of the human condition is firmer than ever Returning to the city that inspired his first prizewinning book, Lost in the City, Jones has filled this new collection with people who call Washington, D.C., home. Yet it is not the city's power brokers that most concern him but rather its ordinary citizens. All Aunt Hagar's Children turns an unflinching eye to the men, women, and children caught between the old ways of the South and the temptations that await them further north, people who in Jones's masterful hands, emerge as fully human and morally complex, whether they are country folk used to getting up with the chickens or people with centuries of education behind them. In the title story, in which Jones employs the first-person rhythms of a classic detective story, a Korean War veteran investigates the death of a family friend whose sorry destiny seems inextricable from his mother's own violent Southern childhood. In "In the Blink of God's Eye" and "Tapestry" newly married couples leave behind the familiarity of rural life to pursue lives of urban promise only to be challenged and disappointed. With the legacy of slavery just a stone's throw away and the future uncertain, Jones's cornucopia of characters will haunt readers for years to come.

Hagar’s Daughter: A Story of Southern Caste Prejudice (1901-1902) is a novel by African American author Pauline Elizabeth Hopkins. Originally published in The Colored American Magazine, America’s first monthly periodical covering African American arts and culture, Hagar’s Daughter: A Story of Southern Caste Prejudice is a groundbreaking novel. Addressing themes of race and slavery through the lens of romance, Hopkins’ novel is thought to be the first detective novel written by an African American author. Set just before the outbreak of the American Civil War, Hagar’s Daughter: A Story of Southern Caste Prejudice takes place on the outskirts of Baltimore where, on neighboring estates, a man and woman fall in love. When Hagar Sargeant returns home after four years of study at a seminary in the North, she meets Ellis Enson, an older gentleman and self-made man who resides at the stately Enson Hall. After a brief courtship, the pair are engaged to be married. As the wedding approaches, Hagar’s mother—who has controlled the family estate since her husband’s death—dies unexpectedly, leaving Hagar the home and its accompanying grounds. Despite this tragic loss, Ellis and Hagar look forward to starting a family together—but when a man from the deep south arrives claiming the young woman was born a slave, their lives are changed forever. Hagar’s Daughter: A Story of Southern Caste Prejudice is a thrilling work of romance and detective fiction from a true pioneer of American literature, a woman whose talent and principles afforded her the vision necessary for illuminating the injustices of life in a nation founded on slavery and genocide. With a beautifully designed cover and professionally typeset manuscript, this edition of Pauline Elizabeth Hopkins’ Hagar’s Daughter: A Story of Southern Caste Prejudice is a classic work of African American literature reimagined for modern readers.

“Mohja Kahf ’s Hagar Poems is brilliantly original in its conception, thrillingly artful in its execution. Its range is immense, its spiritual depth is profound, it negotiates its shifts between archaic and the contemporary with utmost skill. There’s lyricism, there’s satire, there’s comedy, there’s theology of a high order in this book.” —Alicia Ostriker, author of For the Love of God: The Bible as an Open Book “Hagar/ Hajar the immigrant/exile/outcast/refugee mother of a people is given multiple voices and significance in Mohja Kahf’s new book of dramatic monologues, which also reinvents Pharaoh’s daughter, Zuleika, Aïsha, and Mary in poems that are at once lively and learned, agnostic and devout. The sequence on an American mosque, and the poet’s ambivalent love for what it represents, is unique in American poetry.” —Marilyn Hacker, author of A Stranger’s Mirror “‘Where have all the goddesses gone,’ writes Mohja Kahf, ‘I tracked down Isis / incognito on Cyprus. /She told me Ishtar / lived under the radar / in southern Iraq. . . .’ In Hagar Poems, Mohja Kahf’s hallmark qualities—irreverence, imagination, wit, poignancy—are all exuberantly in evidence. A wonderful read.” —Leila Ahmed, author of A Quiet Revolution: The Veil’s Resurgence, from the Middle East to America “This brilliant collection captures all the ‘patient threading of relationship’ between Hagar and Sarah as between women, and then between women and men, between human and God. . . . At every turn of the page [Kahf] refuses complacency and circumstance but opts instead for exposing the tenuousness of threads that tie and bind and then come loose before our eyes.” —From the foreword by Amina Wadud The central matter of this daring new collection is the story of Hagar, Abraham, and Sarah—the ancestral feuding family of Judaism, Christianity, and Islam. These poems delve into the Hajar story in Islam. They explore other figures from the Near Eastern heritage, such as Mary and Moses, and touch on figures from early Islam, such as Fatima and Aisha. Throughout, there is artful reconfiguring. Readers will find sequels and prequels to the traditional narratives, along with modernized figures claimed for contemporary conflicts. Hagar Poems is a compelling shakeup of not only Hagar’s story but also of current roles of all kinds of women in all kinds of relationships.

Reimagining Hagar illustrates that while interpretations of Hagar as Black are not frequent within the entire history of her interpretation, such interpretations are part of strategies to emphasize elements of Hagar's story in order to associate or disassociate her from particular groups. It considers how interpreters engage markers of difference, including gender, ethnicity, status and their intersections in their portrayals of Hagar. Nyasha Junior offers a reception history that examines interpretations of Hagar with a focus on interpretations of Hagar as a Black woman. Reception history within biblical studies considers the use, impact, and influence of biblical texts and looks at a necessarily small number of points within the long history of the transmission of biblical texts. This volume covers a limited selection of interpretations over time that is not intended to be a representative sample of interpretations of Hagar. It is beyond the scope of this book to offer a comprehensive collection of interpretations of Hagar throughout the history of biblical interpretation or in popular culture. Junior argues for the African presence in biblical texts; identifies and responds to White supremacist interpretations; offers cultural-historical interpretation that attends to the history of biblical interpretation within Black communities; and provides ideological criticism that uses the African-American context as a reading strategy. Reimagining Hagar offers a history of interpretation, but also expands beyond interpretation among Black communities to consider how various interpreters have identified Hagar as Black.

In this book Lisa Bowens and Dennis R. Edwards collate a virtual manifesto on the way the Bible serves as inspiration, theological grist, and even the language needed to be the change to people of good faith everywhere. The authors of this book challenge the forces of racism that are so deeply entrenched in church and society today offering prophetic insight into Black resilience and the historic and ongoing importance of Scripture to that resilience. The authors also forefront the significance of Scripture to the Black struggle for justice by bringing together here prominent, gifted Black scholars in biblical studies, ethics, history, and theology, as their work and writing contribute so much to the ongoing struggle against injustice. The book will offer both biblical reflection celebrating an African American theological reading and a prophetic call to arms by means of sermons and other reflections. The book includes contributions from: Jaime L. Waters Jennifer Kaalund Angela Parker Reggie Williams Antonia Daymond Brian Bantum Danjuma Gibson David Daniels Y. Joy Harris-Smith Vince Bantu Ralph Basui Watkins Marcia Clarke Valerie Landfair Antipas Harris Luke Powery Efrem Smith Donyelle McCray Jamal-Dominique Hopkins.

Set in the nation's capital, a collection of stories about African Americans living in Washington, D.C., introduces characters who struggle daily with loss--of family, of friends, of memories, and of themselves. Repritn. 15,000 first printing.

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