Books like Stories of Freedom in Black New York — picked by fans

This book surprised the scholarly community when the manuscript was first obtained at an estate sale. A handwritten memoir that had lain largely unread for over a hundred and fifty years, this narrative depicts the sort of child we rarely see in the history books. A defiant apprentice, a runaway truant, a bartender, a prisoner, and author, Austin Reed offers us one plot twist after another. As a free person of color in the nineteenth century, Reed offers a compelling view into the life of one man who was determined to maintain his own sense of self, even in the face of a quickly growing carceral state that imprisoned him both as a child and as a man.

The history of colonial and antebellum New York, in Harris’s hands, becomes a map of Black activism. This book moves beyond a history of slavery and abolition to offer a sweeping historical narrative of Black life in New York City, starting with the arrival of the first enslaved people in 1626 and culminating in the brutally violent draft riots of 1863. Harris works creatively with little-studied sources to chronicle how, even in the direst of circumstances, Black New Yorkers created vibrant communities. While Harris certainly depicts the obstacles that Black New Yorkers faced in the seventeenth, eighteenth, and nineteenth centuries, she also showcases individual lives, marked by sharp ambition and myriad achievements. In this narrative, talented political operatives create national movements, argue with white abolitionists, and create institutions and traditions that influence racial politics to the present day. 

This middle-grade novel introduces us to a real place—the Colored Orphan Asylum in New York City—and invites us to imagine the historical children who lived there as freedom fighters. Those fights for freedom, it turns out, take place on the back of dinosaurs! While the surprising addition of dinosaur battles might seem like a diversion from the hard work of learning about slavery’s painful history, in Older’s hands, the dinos offer young readers a way to meditate on power and its abuses. Viewed in the context of a Black radical tradition that insists on alternate timescapes, Freedom Fire’s dinosaurs do not function as a bit of whimsical unreality that overwrites difficult historical truths. Instead, their discordant presence actually offers a space for readers—children and educators both—to better inhabit the surreal, disorienting history of enslavement and freedom in the United States.

You wouldn’t think anyone could unearth something new about New York City. But that’s what Carla Peterson did with this book. I first came across it while researching my own work. By focusing on her own family history, Peterson flipped the wagon on the perception that NYC’s African American population was mostly enslaved laborers. 

Reading this, I discovered an elite class of black entrepreneurs who worked tirelessly to end slavery in the state and gain the civil rights all other New Yorkers enjoyed. Thoroughly researched, the book reads with the ebbs and flows of a novel. Anyone writing future screenplays, novels, or streaming series about old New York must face Peterson’s stereotype-busting work. 

While we generally know the main details of several major slave uprisings in early American history.

Rucker dives deeper into the African cultural forces that influenced these episodes and how the expression of African cultural idioms during these resistance movements tells us more about the formation of African American culture.

By focusing on these cultural expressions, Rucker gives fresh insight into major slave uprisings and African American history which also makes for a fascinating read.

These 21 pen-portraits of Shakespearian characters were designed for actors, but they are invaluable for all. This is the book I turn to before I watch any play by Shakespeare. It is the product of the author’s experiences as a lifelong inspirational teacher in Wales, lecturer to New York drama students, and consummate performer of sparkling lecture-recitals across the United States.

Published in 1970, these carefully selected characters (7 from the Histories and 7 apiece from the Comedies and Tragedies) leap from the page to amuse, shock, frighten, and enchant. Philip Burton was a firm believer in Shakespeare’s wizardry, and in these brilliant sketches, he imparts more than a little magic of his own.

Twelth Night or, What You Will just has to be on here, being the mother of all boys-clothes-wearing heroines. The plot has been adapted in so many books and films that it is definitely worth it to read the original (or better yet: watch the play) to see where the brilliancy stems from.

Even though it’s a work of fiction, what I found fascinating about this novel was the glimpse into the world of playwrighting and how, for centuries, the playing (or playwrighting) field has not been a level one.

In Elizabethan times, Emilia Bassano writes Shakespeare’s plays and gets kept as a mistress. In modern-day New York City, Melina Green’s work gets read only because it’s been submitted under a man’s name. Not much has changed.

Dawn Powell is one of the most overlooked literary figures in America from this time. Her acid wit (and gender) immediately begs comparison to Dorothy Parker. A New Yorker transplanted from Ohio, she wrote many plays and novels from the 30s to the 60s. Wicked Pavilion was published in 1954 and is a delicious satire of a group of artists who frequent a small bistro near Washington Square Park – hard-drinking writers, poets, and painters. It features a hilarious subplot of a painter who stages his own death so the value of his paintings will increase. The antidote to Henry James, Dawn Powell writes like Edith Wharton on laughing gas.

A middle-grade novel about an artistic beetle? Sign me up. This delightful story of a talented beetle named Marvin, his human friend James, who work together to help the Metropolitan Museum of Art recover a stolen artwork is delightful, thrilling, and heartwarming. It’s not always easy to have (or not have) artistic talent!