Sherita Johnson considers a region much more associated with African Americans in Reconstruction in her “Reconstruction of the South in African American Literature.” Johnson examines the transformations of a place, people, and Black literary tradition(s) responding to the political and cultural conflicts of the era and finds that Elizabeth Keckley, Frances Ellen Watkins Harper, William Wells Brown, James Madison Bell, Albery A. Whitman and Pauline Hopkins all present “Black witnesses” to Reconstruction in their works: slaves emancipating themselves, freedmen and women staking claims to Southern homes built by generational struggles, and black citizens enacting the promises of democracy. Ultimately, her chapter provides case studies of diverse texts – travel narratives, epic poems, autobiographical sketches, and moral theatre – to consider how such works by African American writers help to correct the historical record of Reconstruction and of Southern literary history.

Rynetta Davis’s “National Housekeeping: (Re)dressing the Politics of Whiteness in Nineteenth-Century African American Literary History” considers how nineteenth-century Black women writers contested and revised representations of traditional Black domesticity. Moving outside of the home and beyond traditional forms of domestic work, Elizabeth Keckley, Julia Collins, and Frances Ellen Watkins Harper suggest that Black domestic work exceeds the home space. Davis thus examines a range of domestic print practices and sensibilities in ways that highlight gender, gendered spaces and work, and print possibilities surrounding such. In this, her chapter considers just what “domestic” citizenship might look like.

Cody Marrs’s “The Civil War in African American Memory” considers the ways in which African American writers in the wake of emancipation tried to answer the question “How should one remember a revolution that was never allowed to complete itself?” During Reconstruction, Marrs argues, two forms of emancipationist memory emerged. On the one hand, many African Americans saw the Civil War as a historical rupture, a break that required commemoration; on the other hand, many saw it as a historical link, part of a longer and enduring struggle for liberation. Marrs retraces how these views of the war took shape in African American life-writings, periodicals, poems, and speeches that used emancipationist memory to reframe the world remade by the Abolition War. That tendency to turn back to the past to apprehend the present, he argues, is the defining feature of African American memory of the war during this period, and it is what ultimately ties these two commemorative modes together, revealing the war to be both an act and a process, an event as well as an ongoing struggle.

Keith Michael Green’s “Disabling Freedom: Bloody Shirt Rhetoric in Postbellum Slave Narratives” explores the mystifications and erasures of anti-Black violence that characterized Reconstruction-era writing.Green pays deep attention to how select narratives – especially the much-neglected Story of Mattie Jackson and Keckley’s better-known Behind the Scenes – strategically employed oblique narrativizations of Black pain and personhood to avoid pernicious narratives of Black unfitness and hyper-embodiment.Green draws on what he calls the “poetics of the bloody shirt” to study the ventriloquization of injury through surrogate objects and persons, with emphasis on not only Jackson and Keckley’s texts but also works by Sojourner Truth, Still, and William Wells Brown to underscore how indirect representations of injury helped postbellum slave narratives articulate the contradictions and risks of Black life and to revise ableist visions of freedom – in the process, contesting the erasure of Black pain in post-emancipation discourse.