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From the legendary author of Native Son and Black Boy, the novel he was unable to publish during his lifetime—an explosive story of racism, injustice, brutality, and survival. "Not just Wright's masterwork, but also a milestone in African American literature . . . One of those indispensable works that reminds all its readers that, whether we are in the flow of life or somehow separated from it, above- or belowground, we are all human." (Gene Seymour, CNN.com)

“The Man Who Lived Underground reminds us that any ‘greatest writers of the 20th century’ list that doesn’t start and end with Richard Wright is laughable. It might very well be Wright’s most brilliantly crafted, and ominously foretelling, book.”—Kiese Laymon

Fred Daniels, a Black man, is picked up by the police after a brutal double murder and tortured until he confesses to a crime he did not commit. After signing a confession, he escapes from custody and flees into the city’s sewer system.

This is the devastating premise of Richard Wright's scorching novel, The Man Who Lived Underground, written between his landmark books Native Son (1940) and Black Boy (1945), at the height of his creative powers. Now, for the first time, by special arrangement with the author’s estate, the full text of the work that meant more to Wright than any other (“I have never written anything in my life that stemmed more from sheer inspiration”) is published in the form that he intended, complete with his companion essay, “Memories of My Grandmother.” Malcolm Wright, the author’s grandson, contributes an afterword.

Black Boy is a classic of American autobiography, a subtly crafted narrative of Richard Wright’s journey from innocence to experience in the Jim Crow South. An enduring story of one young man’s coming of age during a particular time and place, Black Boy remains a seminal text in our history about what it means to be a man, black, and Southern in America.

When Black Boy was first published in 1945, it soared to the top of the bestseller lists, became a Book-of-the-Month Club selection, and Ralph Ellison discerned it belonged to the tradition of the blues, an elegant gesture of testifying, “both to the agony of life and the possibility of conquering it through sheer toughness of spirit.” Sixty years later and now a classic, Black Boy is an eloquent and deeply moving document of a young boy’s struggle for survival.

A master chronicler of the African-American experience, Richard Wright brilliantly expanded his literary horizons with Pagan Spain, originally published in 1957. An amalgam of expert travel reportage, dramatic monologue, and arresting sociological critique, Pagan Spain serves as a pointed and still-relevant commentary on the grave human dangers of oppression and governmental corruption.

The Spain Richard Wright visited in the mid-twentieth century was not the romantic locale of song and story, but a place of tragic beauty and dangerous contradictions. The portrait he offers in Pagan Spain is a blistering, powerful, yet scrupulously honest depiction of a land and people in turmoil, caught in the strangling dual grip of cruel dictatorship and what Wright saw as an undercurrent of primitive faith.

Here are over 800 haiku by Richard Wright, one of the early forceful and eloquent spokesmen for black Americans, author of the acclaimed Native Son and Black Boy.

Wright discovered the haiku in the last eighteen months of life. He attempted to capture, through his sensibility as an African-American, the elusive Zen discipline and beauty in depicting man’s relationship, not only to his fellow man as he had in the raw and forceful prose of his fiction, but to the natural world. In all, he wrote over 4,000 haiku.

Here are the 817 he personally chose; Wright’s haiku, disciplined and steeped in beauty, display a universality that transcends both race and color without ever denying them. Wright wrote his haiku obsessively—in bed, in cafes, in restaurants, in both Paris and the French countryside. They offered him a new form of expression and a new vision: with the threat of death constantly before him, he found in them inspiration, beauty, and insights.

Fighting illness and frequently bedridden, deeply upset by the recent loss of his mother, Ella, Wright continued, as his daughter notes in her introduction, “to spin these poems of light out of the gathering darkness.”

This edition of Native Son reprints the original edition in which Wright omitted several passages which book club editors feared would prove offensive to readers in 1940 and which were restored to the book in later editions.

Set in Chicago in the 1930s, Wright’s powerful novel is just as meaningful today as when it was written, both in its unsparing reflection of the poverty and feelings of hopelessness experienced by people in inner cities across the country and in what it means to be black in America. An undisputed classic since it was first published, Native Son has sold close to three million copies.

This abridged edition—the original 1940 text—includes an afterword by John Reilly and contains an introduction, “How ‘Bigger’ was Born” by Richard Wright.

One of The Atlantic’s Great American Novels

“If one had to identify the single most influential shaping force in modern Black literary history, one would probably have to point to Wright and the publication of Native Son.” – Henry Louis Gates Jr.

In celebration of the 250th anniversary of the United States, HarperCollins is proud to present this library of American classics drawn from our storied catalog. When it was first published in 1940, Native Son established Richard Wright as a literary star. In the decades since, Wright's masterpiece—hailed as "a novel of tremendous power and beauty" (Newsweek)—has become a revered classic that remains as timely and relevant today as when it first appeared.

Set in Chicago in the 1930s, Native Son is the story of Bigger Thomas, a young Black man caught in a downward spiral after killing a young white woman in a brief moment of panic. Written with the distinctive rhythm of a modern crime story, this formidable work is both a condemnation of social injustice and an unsparing portrait of the Black experience in America, revealing the tragic effect of poverty, racism, and hopelessness on the human spirit. As Wright explained, "I wrote Native Son to show what manner of men and women our 'society of the majority' breeds, and my aim was to depict a character in terms of the living tissue and texture of daily consciousness."

This edition of Native Son isthe restored text established by the Library of America—the novel as Wright intended it to be published. It also includes an essay by Wright titled, How "Bigger" was Born, along with notes on the text.

“[Wright’s] landscape was not merely that of the Deep South, or of Chicago, but that of the world, of the human heart.” —James Baldwin

In these powerful stories, literary giant Richard Wright probes the landscape of the human heart and soul with deep compassion and biting clarity.

Each of the short works in Eight Men focuses on a Black man at violent odds with a white world, reflecting Wright's views about racism in our society and his fascination with what he called "the struggle of the individual in America." Wrenching and indelible, these stories will captivate all those who loved Black Boy and Native Son.

From one of the most brilliant writers and thinkers of the twentieth century comes a collection of "passionate, probing, controversial" essays (The Atlantic) on topics ranging from race relations in the United States to the role of the writer in society.

Told with Baldwin's characteristically unflinching honesty, this “splendid book” (The New York Times) offers illuminating, deeply felt essays along with personal accounts of Richard Wright, Norman Mailer and other writers. 

“James Baldwin is a skillful writer, a man of fine intelligence and a true companion in the desire to make life human. To take a cue from his title, we had better learn his name.” —The New York Times

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A classic anthology of short stories by Black writers including James Baldwin, Zora Neale Hurston, and Richard Wright -- edited and with an introduction by Langston Hughes. 

Originally published in 1967, The Best Short Stories by Black Writers offers a timeless and unforgettable portrait of the tragedy, comedy, triumph, and suffering that were part of African American life from 1899 to 1967. 

Within the Circle is the first anthology to present the entire spectrum of twentieth-century African American literary and cultural criticism. It begins with the Harlem Renaissance, continues through civil rights, the Black Arts Movement, and on into contemporary debates of poststructuralist and black feminist theory. Drawing on a quote from Frederick Douglass for the title of this book, Angelyn Mitchell explains in her introduction the importance for those "within the circle" of African American literature to examine their own works and to engage this critical canon.
The essays in this collection—many of which are not widely available today—either initiated or gave critical definition to specific periods or movements of African American literature. They address issues such as integration, separatism, political action, black nationalism, Afrocentricity, black feminism, as well as the role of art, the artist, the critic, and the audience. With selections from Langston Hughes, Sterling Brown, W. E. B. DuBois, Zora Neale Hurston, Richard Wright, James Baldwin, Toni Morrison, Barbara Smith, Alice Walker, Henry Louis Gates, Jr., and many others, this definitive collection provides a dynamic model of the cultural, ideological, historical, and aesthetic considerations in African American literature and literary criticism.
A major contribution to the study of African American literature, this volume will serve as a foundation for future work by students and scholars. Its importance will be recognized by all those interested in modern literary theory as well as general readers concerned with the African American experience.

Selections by (partial list): Houston A. Baker, Jr., James Baldwin, Sterling Brown, Barbara Christian, W. E. B. DuBois, Ralph Ellison, LeRoi Jones, Sarah Webster Fabio, Henry Louis Gates, Jr., W. Lawrence Hogue, Langston Hughes, Zora Neale Hurston, Alain Locke, Deborah E. McDowell, Toni Morrison, J. Saunders Redding, George Schuyler, Barbara Smith, Valerie Smith, Hortense J. Spillers, Robert B. Stepto, Alice Walker, Margaret Walker, Mary Helen Washington, Richard Wright

Rediscover the sensational 1967 literary thriller that captures the bitter struggles of postwar Black intellectuals and artists

With a foreword by Ishmael Reed and a new introduction by Merve Emre about how this explosive novel laid bare America's racial fault lines

Max Reddick, a novelist, journalist, and presidential speechwriter, has spent his career struggling against the riptide of race in America. Now terminally ill, he has nothing left to lose. An expat for many years, Max returns to Europe one last time to settle an old debt with his estranged Dutch wife, Margrit, and to attend the Paris funeral of his friend, rival, and mentor Harry Ames, a character loosely modelled on Richard Wright.

In Amsterdam, among Harry’s papers, Max uncovers explosive secret government documents outlining “King Alfred,” a plan to be implemented in the event of widespread racial unrest and aiming “to terminate, once and for all, the Minority threat to the whole of the American society.” Realizing that Harry has been assassinated, Max must risk everything to get the documents to the one man who can help.

Greeted as a masterpiece when it was published in 1967, The Man Who Cried I Am stakes out a range of experience rarely seen in American fiction: from the life of a Black GI to the ferment of postcolonial Africa to an insider’s view of Washington politics in the era of segregation and the Civil Rights Movement, including fictionalized portraits of Martin Luther King, Jr., and Malcolm X. John A. Williams and his lost classic are overdue for rediscovery.

Few novels have so deliberately blurred the boundaries between fiction and reality as The Man Who Cried I Am (1967), and many of its early readers assumed the King Alfred plan was real. In her introduction, Merve Emre examines the gonzo marketing plan behind the novel that fueled this confusion and prompted an FBI investigation. This deluxe paperback also includes a new foreword by novelist Ishmael Reed.