Any serious student of African American literature has read the fiction and/or journals of Charles Waddell Chesnutt, one of the most ambitious, intelligent, and under-rated writers of his time. "The Absent Man" is a must-read for Chesnutt scholars, because in it, Duncan explores some of the reasons for Chesnutt's enigmatic reputation: his elusive authorial stance; his introspective personality; his lifelong preoccupation with the ways in which society constructs a person's identity; and his persistent examinations of racial attitudes at a time when much of the reading public was unprepared both emotionally and intellectually for such honesty. Duncan painstakingly dissects the various narrative constructs--such as masking, and the first-person narrator-protagonist vs. the witness-narrator--with which Chesnutt experimented in his writing. Duncan demonstrates an astute understanding of Chesnutt's delicate role: a 19th-century black writer attempting to challenge the racial assumptions of his readers, most of whom were white, and gain fame and fortune in the process. Ambitious indeed, and, sadly, Chesnutt in the end suffered from critical backlash. After Chesnutt's death in 1932, his canon seemed neglected for a time; however, critical attention increased during the latter half of the 20th century, and, influenced by Chesnutt scholar Joseph R. McElrath, Jr., Duncan's voice is a competent addition. While some critics have focused mainly on Chesnutt's most well-known works, such as "The Conjure Woman" and "The Marrow of Tradition," Duncan gives special attention to Chesnutt's lesser known short fiction, such as the short stories "Baxter's Procrustes" and "The Shadow of My Past." Duncan's is a much-needed contribution to our understanding and appreciation of Chesnutt's rhetorical brilliance.

This near-forgotten novel really doesn't get the attention it deserves. Although written over a hundred years ago(Chesnutt has the distinction of being the first African-American professional writer of fiction), the novel anticipates many of the approaches leaders would later employ in their attempts to better the plight of African-Americans. Josh Green, for example, is a dead-ringer for the "by any means necessary" rhetoric of Malcolm X, while Dr. Miller seems more emblematic of the accomodationist position adopted by Booker T. Washington and later modified by Martin Luther King. Although Chesnutt seems to imply preference for the latter, the text never falls into a redundant good/bad binary. Chesnutt skillfully demonstrates the strengths and weaknesses of strategies designed to address the systemic disenfranchisement of African-Americans. Like many black writers interested in such issues (most notably Patricia Williams in "The Alchemy of Race and Rights"), the text reinforces the importance of rights discourse and a well-functioning legal forum as the keys to ensuring black freedom and autonomy from coercive hegemonical practices.

Although the text, as some commentators have noted, sometimes wildly veers into melodrama, the power and vision of the narrative trumps whatever small stylistic quibbles I may have with it. A great read.

Charles Chesnutt's 1901 novel, "The Marrow of Tradition," is finally, after nearly a century, getting a broader audience, and deservedly so. Set in late 1890's North Carolina, Chesnutt's novel examines the psychology of turn of the century American race relations. Based on the incidents leading up to the 1898 Wilmington 'race riot,' "The Marrow of Tradition" is an astounding fictional study of American race relations, and their political, social, economic, and personal ramifications, which we still feel to-day. This is a novel which should join Twain's "Huckleberry Finn" as a key text in American literature courses, and in the broader social imaginary.

"The Marrow of Tradition" begins with multiple anxities - Major Carteret, a former Southern Civil War officer, whose family was nearly ruined as a result of the war, is in the process of rebuilding his family and his fortunes. Having founded a newspaper, 'The Morning Chronicle,' his fortunes seem to be on the rise. However, he envisions threats on every side - personally, the precarious life of his new born son constantly threatens to end his family line; politically, since the passage of the 15th Amendment, the black population of his hometown, Wellington, is increasingly subjecting his pride to the 'insult' of an 'inferior' race in positions of authority and influence. For the black population of Wellington, threats to their growing power are just as palpable - Carteret and his cronies (particularly General Belmont and 'Captain' McBane) are building up a 'white supremacy' movement; social relations between blacks and whites have the veneer of restraint, with explosive rage always bristling beneath the surface on both sides of the 'color line.' For black people like Sandy Campbell and Jane Letlow, in service to white families since before the war, investment in 'status quo antebellum' is a way of life. Others like Jerry Letlow and Josh Green represent absolute differences in opinion in their relations with the whites. For mixed-race individuals like Dr. William Miller and his wife Janet, social acceptance, respectability, and mobility seem possible. Miller's decision to build a hospital in Wellington is predicated on the hope that he might be a cornerstone for the up-and-coming black community.

With a complex set of relations like this in place, the novel quickly draws us in. Carteret's determination in setting up a 'white supremacy' movement meets with various successes and failures, as he uses his newspaper to sow seeds of discontent among the white population, which is actually outnumbered in Wellington, two to one. An editorial from a black newspaper, against the extra-judicial practices of lynch mobs enrages Carteret and his group. A key relationship in the novel, between an old Southern aristocrat, John Delamere, his profligate grandson, Tom, and their longtime family servant, Sandy Campbell, sets the stage for heightened racial tensions, when Sandy is accused of murdering an elderly white woman, Polly Ochiltree, who is related to the Carterets.

Chesnutt does a phenomenal job of juxtaposing the systems by which each individual and each group and sub-group in the novel deals with the realities of life in a post-Reconstruction southern town. From simple subsisting to aggressive attempts at change, from local traditions of hexcraft to public manipulation through the press, from defensive postures to mob mentality, from legislation to extra-legal action, from duties to the community to the duties owed to one's own family, Chesnutt presents his readers with a wide variety of strategies open to his characters. With a narrative voice which believes decisively in "Fate," the novel tries to illustrate the legacy of slavery, and the almost inevitable mess that comes about when stationary, progressive, and regressive mindsets clash on a public level.

One of Chesnutt's major achievements is in never wholly giving way to group mentalities or broad generalizations with regard to the actors in this drama. Stereotypes are as soon dismissed as acknowledged. He clearly allows for and presents differences in opinion on the level of the individual - Josh Green's self-proclaimed mission of vengeance against white people is as deeply felt as Jerry Letlow's wishes to become white. Even within the 'white supremacy' Big Three, Careteret, Belmont, and McBane express radically different approaches to gaining what they imagine to be a common goal. White characters like Philadelphia surgeon, Dr. Burns, and Wellington newspaper man, Lee Ellis, are as inclusionary and accepting of black citizens and their aspirations as their respective social positions will allow them to be. There is a lot more going on in "The Marrow of Tradition" than I have pointed to here. Professor Eric Sundquist's introduction does an excellent job of setting up the historical, political, and biographical contexts involved in the novel. Overall, this is an extremely rich novel and very much worth reading.

Masterfully narrated by Michael Collins, the historical novel, The Marrow Of Tradition, by Charles Waddell Chesnutt is set in the 1898 North Carolina city of Wellington, presenting a kind of microcosm of the ante-bellum south where a town has gone mad with racial hatreds, and roiling confrontations between southern "redeemers" and the now free black community. The first African-American novelist to achieve national recognition for his work, Charles Waddell Chesnutt is able to take us back into a time of family tragedy, death, lynch law, and endemic racial violence that would scar the worlds of both whites and blacks for generations to come. The Marrow Of Tradition is a compelling, engaging story of characters and events that grips the listener's total attention from beginning to end. (Running Time: 3:30 hours)

Charles Chestnutt's A Conjure Woman is a collection of short stories told by a former slave named Julius to a White couple who have recently moved to the South. Written at the turn of the century, Chestnutt was addressing a primarily White audience who were recovering from Reconstruction and were fond of plantation-style literature which looked upon slavery with nostalgia. On the surface, the author seems to be catering to the nostalgic pre-Civil War idea, but in actuality, Julius' stories have a much deeper moral which reveal a harsh and terrible way of life for Blacks of the time. Mixed with elements of magic and conjuring, Julius' seems to be telling fanciful fairy tales, but with a closer look, one realizes that Chestnutt has no fondness or nostalgia for the times of slavery. This is a well-written and thought-provoking book and it is an important novel of America's history.