John Henry A Negro Folk Play

Includes several versions of the Afro-American folk-song on which the legend of John Henry is based.

The song "John Henry," perhaps America's greatest folk ballad, is about an African-American steel driver who raced and beat a steam drill, dying "with his hammer in his hand" from the effort. Most singers and historians believe John Henry was a real person, not a fictitious one, and that his story took place in West Virginia--though other places have been proposed. John Garst argues convincingly that it took place near Dunnavant, Alabama, in 1887. The author's reconstruction, based on contemporaneous evidence and subsequent research, uncovers a fascinating story that supports the Dunnavant location and provides new insights. Beyond John Henry, readers will discover the lives and work of his people: Black and white singers; his "captain," contractor Frederick Dabney; C. C. Spencer, the most credible eyewitness; John Henry's wife; the blind singer W. T. Blankenship, who printed the first broadside of the ballad; and later scholars who studied John Henry. The book includes analyses of the song's numerous iterations, several previously unpublished illustrations and a foreword by folklorist Art Rosenbaum.

Roark Bradford's 1931 novel and 1939 play dealing with the legendary folk-hero John Henry (both titled John Henry) were extremely influential in their own time, but have since then been nearly forgotten. Steven C. Tracy has united these hard-to-find works in a single critical edition that helps contextualize-and revive-both texts. An expansive introduction explores Bradford's life; recounts critical responses to his works; and surveys John Henry's pervasive influence in folk, literary, and popular culture. The volume also features a wide array of supplementary materials including a selected bibliography and discography, transcriptions of folksong texts and recordings available during the 1930s, and a chronology of the lives of both Bradford and Henry. As Tracy's introduction makes clear, such a consideration of Bradford--set in the context of writers, both black and white, drawing upon African American folklore and using dialects along with stereotypical and non-stereotypical portrayals--is long overdue. This new edition is a windfall for scholars and students of folklore and African American literature.

Historian Scott Reynolds Nelson recounts how he came to discover the real John Henry, an African-American railroad worker who became a legend in the famous song.

This thorough, well-researched exploration of the origins and development of a rich and varied African American musical tradition features authentic versions of over 40 folk songs. These include such time-honored selections as "Wake Up Jonah," "Rock Chariot," "Wonder Where Is My Brother Gone," "Traveling Shoes," "It's Getting Late in the Evening," "Dark Was the Night," "I'm Crossing Jordan River," "Russia, Let That Moon Alone," "Long John," "Rosie," "Motherless Children," three versions of "John Henry," and many others. One of the first and best surveys in its field, Negro Folk Music, U.S.A. has long been admired for its perceptive history and analysis of the origins and musical qualities of typical forms, ranging from simple cries and calls to anthems and spirituals, ballads, and the blues. Traditional dances and musical instruments are examined as well. The author — a well-known novelist, folklorist, journalist, and specialist in African and African American cultures — offers a discerning study of the influence of this genre on popular music, with particular focus on how jazz developed out of folk traditions.

Julius Lester and Jerry Pinkney's warm, humorous retelling of a popular African-American folk ballad. When John Henry was born the birds, bears, rabbits, and even a unicorn came to see him. He grew so fast, he burst right through the porch roof, and laughed so loud, he scared the sun! Soon John Henry is swinging two huge sledgehammers to build roads, pulverizing boulders, and smashing rocks to smithereens. He's stronger than ten men and can dig through a mountain faster than a steam drill. Nothing can stop John Henry, and his courage stays with us forever. A Caldecott Honor Book * "This is a tall tale and heroic myth, a celebration of the human spirit . . . The story is told with rhythm and wit, humor and exageration, and with a heart-catching immediacy that connects the human and the natural world. " --Booklist, starred review "Another winning collaboration from the master storyteller and gifted artist of Tales of Uncle Remus fame." --School Library Journal "A great American hero comes fully to life in this epic retelling filled with glorious, detailed watercolors . . . This carefully crafted updating begs to be read aloud for its rich, rhythmic storytelling flow, and the suitably oversize illustrations amplify the text." --Publishers Weekly

Winner • NAACP Image Award for Outstanding Literary Work (Fiction) Winner • Anne Izard Storytellers’ Choice Award Holiday Gift Guide Selection • Indiewire, San Francisco Chronicle, and Minneapolis Star-Tribune These nearly 150 African American folktales animate our past and reclaim a lost cultural legacy to redefine American literature. Drawing from the great folklorists of the past while expanding African American lore with dozens of tales rarely seen before, The Annotated African American Folktales revolutionizes the canon like no other volume. Following in the tradition of such classics as Arthur Huff Fauset’s “Negro Folk Tales from the South” (1927), Zora Neale Hurston’s Mules and Men (1935), and Virginia Hamilton’s The People Could Fly (1985), acclaimed scholars Henry Louis Gates Jr. and Maria Tatar assemble a groundbreaking collection of folktales, myths, and legends that revitalizes a vibrant African American past to produce the most comprehensive and ambitious collection of African American folktales ever published in American literary history. Arguing for the value of these deceptively simple stories as part of a sophisticated, complex, and heterogeneous cultural heritage, Gates and Tatar show how these remarkable stories deserve a place alongside the classic works of African American literature, and American literature more broadly. Opening with two introductory essays and twenty seminal African tales as historical background, Gates and Tatar present nearly 150 African American stories, among them familiar Brer Rabbit classics, but also stories like “The Talking Skull” and “Witches Who Ride,” as well as out-of-print tales from the 1890s’ Southern Workman. Beginning with the figure of Anansi, the African trickster, master of improvisation—a spider who plots and weaves in scandalous ways—The Annotated African American Folktales then goes on to draw Caribbean and Creole tales into the orbit of the folkloric canon. It retrieves stories not seen since the Harlem Renaissance and brings back archival tales of “Negro folklore” that Booker T. Washington proclaimed had emanated from a “grapevine” that existed even before the American Revolution, stories brought over by slaves who had survived the Middle Passage. Furthermore, Gates and Tatar’s volume not only defines a new canon but reveals how these folktales were hijacked and misappropriated in previous incarnations, egregiously by Joel Chandler Harris, a Southern newspaperman, as well as by Walt Disney, who cannibalized and capitalized on Harris’s volumes by creating cartoon characters drawn from this African American lore. Presenting these tales with illuminating annotations and hundreds of revelatory illustrations, The Annotated African American Folktales reminds us that stories not only move, entertain, and instruct but, more fundamentally, inspire and keep hope alive. The Annotated African American Folktales includes: Introductory essays, nearly 150 African American stories, and 20 seminal African tales as historical background The familiar Brer Rabbit classics, as well as news-making vernacular tales from the 1890s’ Southern Workman An entire section of Caribbean and Latin American folktales that finally become incorporated into the canon Approximately 200 full-color, museum-quality images

In 2015, Bob Dylan said, "I learned lyrics and how to write them from listening to folk songs. And I played them, and I met other people that played them, back when nobody was doing it. Sang nothing but these folk songs, and they gave me the code for everything that's fair game, that everything belongs to everyone." In Hear My Sad Story, Richard Polenberg describes the historical events that led to the writing of many famous American folk songs that served as touchstones for generations of American musicians, lyricists, and folklorists. Those events, which took place from the early nineteenth to the mid-twentieth centuries, often involved tragic occurrences: murders, sometimes resulting from love affairs gone wrong; desperate acts borne out of poverty and unbearable working conditions; and calamities such as railroad crashes, shipwrecks, and natural disasters. All of Polenberg’s account of the songs in the book are grounded in historical fact and illuminate the social history of the times. Reading these tales of sorrow, misfortune, and regret puts us in touch with the dark but terribly familiar side of American history. On Christmas 1895 in St. Louis, an African American man named Lee Shelton, whose nickname was "Stack Lee," shot and killed William Lyons in a dispute over seventy-five cents and a hat. Shelton was sent to prison until 1911, committed another murder upon his release, and died in a prison hospital in 1912. Even during his lifetime, songs were being written about Shelton, and eventually 450 versions of his story would be recorded. As the song—you may know Shelton as Stagolee or Stagger Lee—was shared and adapted, the emotions of the time were preserved, but the fact that the songs described real people, real lives, often fell by the wayside. Polenberg returns us to the men and women who, in song, became legends. The lyrics serve as valuable historical sources, providing important information about what had happened, why, and what it all meant. More important, they reflect the character of American life and the pathos elicited by the musical memory of these common and troubled lives.