This brief essay addresses this volume’s multiple audiences – including undergraduate and graduate students; instructors who want to incorporate a new unit on Reconstruction into a colonial and US literature survey course or to teach a class on the subject; and scholars of American literature who might or might not work in the second half of the nineteenth century – who would benefit from a basic map to the significant changes now in progress in Reconstruction studies and strategies for teaching them. Within the past decade in particular, renewed and transformative interest in Reconstruction has moved to the forefront of the fields of US history and nineteenth-century US literary history. While the Reconstruction period has long been a staple in the field of US history (however troubled that narrative might have been, a topic to which I will turn shortly), that has notably not been the case in the field of literary studies. As Gordon Hutner points out in his introduction to the 2018 special issue of the flagship field journal American Literary History entitled “Reenvisioning Reconstruction,” Reconstruction has been “among the subjects least touched” by scholars otherwise energetically focused on revising field assumptions and canons. Scholarship to remedy this stark neglect and debates about how to do so have recently risen to the top of the disciplinary agenda. As Hutner puts it, “A nucleus of scholars has been revisiting the period and committing a great deal of industry and intelligence toward uncovering its critical exigencies in ways that previous generations of Americanists had missed.”1

New York City had a significant role in Richard Wright’s search for political and artistic freedom. During the ten years he spent there, the emerging writer reached the pinnacle of his career amid the city’s magazines, newspapers, publishers, and cultural brokers. Wright utilized various professionalizing networks, including the CPUSA and WPA, and he published Uncle Tom’s Children and Native Son shortly after his arrival in 1937. Additionally, he radicalized the short-lived New Challenge, exposed Harlem’s poverty in the Daily Worker, and fictionalized his research on black domestic workers and juvenile delinquency in “Black Hope” and Rite of Passage, respectively. Wright’s years in New York were his career’s most productive, and this success was reflected in his personal life, which included settling into marriage and fatherhood as well as the 7 Middagh artistic community. Although New York fostered these interracial domestic relationships, its boroughs were not free from the Jim Crowism African Americans lived under elsewhere. The prejudices Wright encountered in Brooklyn and Manhattan, on top of those he had experienced in the South, influenced his decision to leave the U.S., as he believed the move to Paris would free him to write with new perspective on American race relations.