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This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
- Published on: 2012-08-31
- Released on: 2012-08-31
- Original language: English
- Dimensions: 10.00" h x .67" w x 7.50" l,
- Binding: Paperback
- 294 pages
About the Author
After the first book appeared in 1880, Joel Chandler Harris was deluged with letters from readers all over the country asking for more stories of Brer Rabbit and his friends--so for the remaining years of his life he collected and wrote them. Richard Chase, noted folklorist and author of Jack Tales and Grandfather Tales, compiled and edited the volume after Harris s death, and his occasional footnotes and word definitions contribute to our understanding of the dialect. Chase s belief in the importance of folktales and Harris s work is summed up in his foreword: "These tales grew up in the soil of our nation. They came from the soul of a people. They endure."
Most helpful customer reviews
23 of 24 people found the following review helpful.
Rough Going for modern readers, but....
By Andre M.
Most people today know of how the White Georgian Joel Chander Harris was fascinated by the "rabbit stories" of Black slaves he met at a Georgia plantation in the 1860s, thus eventually leading to this book in 1880. While it's justly famous for the "Brer (brother) Rabbit" stories (BTW-Harris was not the first to record these tales from ex-slaves, Abbie Christensen did that in Port Royal, SC in 1874), it's mighty rough for the modern reader. For one thing, the "Negro dialect" used by Harris is almost incomprehensible to today's reader. Additionally, "Uncle Remus' views on education for Blacks (not in favor) and black advancement, as well as his occasional use of the "n-word" will make this tough to swallow in these PC times. One has to remember when this book was written and get past all that to see the actual beauty and importance of these tales.
PS-Be warned that if you like the original edition with the wonderful illustrations of Brer Rabbit in overalls smoking a pipe and of the background scenery and other animal charachters, none of these charming illustrations appear in the Penguin version-just so you'll know.
15 of 15 people found the following review helpful.
Simply delightful!
By Andre M.
Most people today (sadly) think of Joel Chandler Harris' Uncle Remus/Br'er Rabbit tales as racist apologetics for slavery. A good read of this seldom-read book shows that this was far from the case.
This volume came on the heels of the better-known "Uncle Remus-His Songs and Sayings" which consisted of tales of the black sage Uncle Remus (based on a real slave storyteller named "Uncle" George Terrell) telling trickster tales of Br'er Rabbit. In this book, the concept is expanded. Uncle Remus is joined by Aunt Tempy, a gullah-speaking African slave named Daddy Jack, and a teenage-twentysomething black girl named Tildy, in relating the stories to the little white boy. Their personalities are expanded here, including a love story between the elderly Daddy Jack and the young Tildy. Uncle Remus even candidly discusses the racism of poor whites against blacks in one scene (note to "Song of the South" fans, he was referring to the Favors family, who were the villians in that film).
Although the nineteenth-century "Negro dialect" (once again) makes rough reading for modern readers, the results are well worth the effort. The stories are real knee-slappers, especially the tales of Brer Babbit tricking Brer Fox with a sleeping horse and the heroic hare's attempt to bamboozle a yooung girl into letting him feat from her father's garden. However, this book also shows that Harris far more than a white man who "stole" black folklore (as his detractors accuse). The character of Daddy Jack is among the most complex in the series and, having grown up around the Gullah culture near Charleston, SC myself, Harris very accurately records Daddy Jack's gullah stories and speech in these pages, which is a difficult task as this dialect does not easily lend itself to the written page. Those unfamiliar with gullah will find this a chore, but Harris includes a gullah glossary to help.
The tale-telling sessions with the above four characters and the little white boy as a witness is also an accurate testimony to a storytelling session among Black southern adults, perahps the best description of its kind until Zora Neale Hurston's insider look at this phenomenon MULES & MEN in 1935 (I say this having witnessed such scenes myself as a child). Harris himself was privy to such sessions during slavery, and it shows. One delightful moment occurs when Uncle Remus tells the gathering about a chicken hawk flying downward toward a chiken in a barnyard and Tildy excitedly interjects, "LOOK OUT, PULLETS!"
With all this to recommend it, the only reason I give it 4 stars is because this Penguin edition is minus the wonderful illustrations of Arthur B. Frost (of the aminals in the stories wearing overalls, smoking pipes, etc.). No volume of Uncle Remus lore is complete without these highly amusing drawings adding to the fun. This will also whet your appetite for Harris' other Remus collections (Told by Uncle Remus, Uncle Remus & The Little Boy, Uncle Remus & Br'er Rabbit, etc.). However, the other Harris books are VERY hard to find today. Fortunately, a complete anthology of "Remusology" exists in "The Complete Uncle Remus," which also includes the original delightful drawings from each book. I would highly recommend this after reading "Nights With Uncle Remus."
9 of 9 people found the following review helpful.
One of the best versions out there
By Andre M.
This is one of the best versions of "Uncle Remus' Songs and Sayings" out there.
The book itself, for those who don't know, is a collection of slave stories anthologized by White Georgian Joel Chandler Harris. In his youth, Harris was enthralled by the "Rabbit stories" (as elderly Southern Blacks call them) based on the idea of wise but weak rabbits using their brains to outsmart stronger but less intelligent wolves, foxes, and bears (an analogy of the slaves' struggle to outwit their masters) of a slave named "Uncle" George Terrell. (You guessed it folks, the inspiration for "Uncle Remus").
Those who know this through Walt Disney's "Song of the South" should be aware of the differences. The film's story about the White boy who is estranged from his parents and finds solace in Uncle Remus' tales was elaborated. The framing device in the book simply has the boy making occasional visits to Uncle Remus' Cabin to enjoy the tales. This is followed by some interesting songs by Georgia slaves (recorded by Harris) and a few Br'er (dialect for "Brother") Rabbit-less Uncle Remus sketches, the latter of which are far less amusing to the modern reader. Also, Harris' Uncle Remus (as opposed to Disney's version) is prone to liberal use of the n-word. This was, after all, written in 1881. The 19th Century "Negro Dialect" of this book is rough going for modern readers. But if you're patient with it and take time to sound out the words to yourself ("biemby" for "by and by," for example), you'll get the hang of it and the rabbit stories themselves are quite enjoyable after this hurdle.
While some stories such as "Uncle Remus on Education" (where the sage decries education for blacks) will ruffle some feathers (including mine), overall I enjoy this book, being a fan of Black folklore. Although Black writers such as Charles Chesnutt, Thomas Talley, J. Mason Brewer, and Zora Neale Hurston had the foresight to record their own folklore, they were mostly unappreciated in their time and most black writers of the era were more interested in their future, not in their rural past. While Harris was not the best White collector of Black folklore (it is largely agreed that the White South Carolinans DuBose Heyward and Edward C.L. Adams had a leg up on Harris for authenticity), had it not been for Harris (and by extension, Disney), it's fair to say that the Brer Rabbit tales may have died in obscurity.
This version of the book is blessed with illustrations by A.B. Frost. These add to the fun with sketches of Brer Rabbit wearing overalls and smoking a pipe, as well as his adventures with the other "creetures" (creatures) as they are called in the book. This cartoon-like fun adds dimension and humor to this addition to the book and helps to make it a good fireplace or front porch read. Enjoy.
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