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Such stories now seem like apolitical fantasies to contemporary readers. This is the question at the center of Tate's examination of the novels of Pauline Hopkins, Emma Kelley, Amelia Johnson, Katherine Tillman, and Frances Harper. \u003cem\u003eDomestic Allegories of Political Desire\u003c\/em\u003e is more than a literary study; it is also a social and intellectual history--a cultural critique of a period that historian Rayford W. Logan called \"the Dark Ages of recent American history.\" Against a rich contextual framework, extending from abolitionist protest to the Black Aesthetic, Tate argues that the idealized marriage plot in these novels does not merely depict the heroine's happiness and economic prosperity. More importantly, that plot encodes a resonant cultural narrative--a domestic allegory--about the political ambitions of an emancipated people. 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This study examines poetry by writers across the spectrum: canonical, less well-known, and virtually unknown. \u003cp\u003e\u003c\/p\u003eThe ideology of the Communist Left as particularly expressed through cultural institutions of the literary Left significantly influenced the shape of African-American poetry in the 1930s and 40s, as well as the content. One result of this engagement of African-American writers with the organized Left was a pronounced tendency to regard the re-created folk or street voice as the authentic voice--and subject--of African-American poetry. Furthermore, a masculinist rhetoric was crucial to the re-creation of this folk voice. \u003cp\u003e\u003c\/p\u003eThis unstable yoking of cultural nationalism, integrationism, and internationalism within a construct of class struggle helped to shape a new relationship of African-American poetry to vernacular African-American culture. 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Its popularity owes much to the lyricism of the prose, the pitch-perfect rendition of black vernacular English, and the memorable characters--most notably, Janie Crawford. Collecting the most widely cited and influential essays published on Hurston's classic novel over the last quarter century, this \u003cem\u003eCasebook\u003c\/em\u003e presents contesting viewpoints by Hazel Carby, Henry Louis Gates, Jr., Barbara Johnson, Carla Kaplan, Daphne Lamothe, Mary Helen Washington, and Sherley Anne Williams. The volume also includes a statement Hurston submitted to a reference book on twentieth-century authors in 1942. 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Using psychoanalytic theories on mourning and melancholia as inroads into her subject, Cheng offers a closely observed and carefully reasoned account of the minority experience as expressed in works of art by, and about, Asian-Americans and African-Americans. She argues that the racial minority and dominant American culture both suffer from racial melancholia and that this insight is crucial to a productive reimagining of progressive politics. Her discussion ranges from \"Flower Drum Song\" to \"M. Butterfly,\" \u003cem\u003eBrown v. Board of Education\u003c\/em\u003e to Anna Deavere Smith's \"Twilight,\" and \u003cem\u003eInvisible Man\u003c\/em\u003e to \u003cem\u003eThe Woman Warrior\u003c\/em\u003e, in the process demonstrating that racial melancholia permeates our fantasies of citizenship, assimilation, and social health. 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