New literary developments in the late 19th century brought with them the expansion of African-American literature, providing a voice to a previously unheard people. The opinions and ideals expressed by these writers were varied as they came from a diverse and rapidly growing population that was just beginning to realize the intensity and scope of their needs as a community. Each of these writers, of course, had their own perspectives, agendas, and primary interests. For example, Charles Chesnutt seemed more determined to convince his black and white audiences that perceived dissimilarities are becoming increasingly slight and less visible as new identities develop and potentials emerge. Pauline Hopkins, on the other hand, seemed to be more fascinated by the female condition in general, but in particular by the phenomena of the African American woman's experience. Both of these writers, respectively, have individual motivations and strongly support those beliefs, through writing, education and speeches. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The concepts conveyed by these authors were part of their attempts to give voice and create a space in society, free of discrimination, for the development of the rapidly evolving African American population. Chesnutt and Hopkins achieved these goals through the use of their literature, speaking about their problems directly to the public. In his writings, Charles Chesnutt takes the concept of racial identity and meticulously deconstructs the concept while shattering previously standardized beliefs about the capabilities of African Americans in a post-Civil War era. Chesnutt was very interested in discourse on topics such as racial superiority, breaking stereotypes, and the psychology behind racism. Yet despite his focus on these topics, Chesnutt was also particularly concerned about the conflict faced by people of mixed race, like himself. Because miscegenation is such a complex concept, experienced by a relatively niche part of the African-American community at the time, Chesnutt seemed dedicated to carving out a space for those of mixed blood. He sought to eliminate the “one drop rule” theory, a widely held belief that was based on the belief that a single drop of African-American blood was a form of pollution. Chesnutt sought to build a place of acceptance for those who were multiracial, those who filled the gray area between blacks and whites. He created this in-between space in “The Wife of His Youth,” through the Blue Vein Society, with “individuals who were, by and large, more white than black.” (464) The Blue Veins were the physical representation of a bridge between the races, a creation that undertook the mission to unite one with another for the greater purpose of a harmonious society, free from racial intolerance. Chesnutt strove to normalize both the African American and mixed-race communities to his white readers, attempting to convince them of the overriding weight their similarities had over their differences. Indeed, in “The Passing of Grandison,” Chesnutt seems to suggest, in his own sly and subversive way, that African Americans were not simply smarter than whites believed, but smarter than whites. The end of the story brings with it a sardonic note, which alludes to the author's air of vague superiority. Chesnutt created a narrative in which the African-American character finally ends up prevailing after Grandison defeats his slave master so stupendously, the firstwaving “his hand derisively” while “the second clenched his fist helplessly.” (483) The story almost seems to play with the relatively modern idea of ​​reverse racism, but it doesn't go far enough into Grandison's success to produce a feeling of racial domination. Chesnutt's intention, rather, is to balance the scales. It seeks to create balance in the racial social sphere, not to disempower or empower one race over another. Chesnutt succeeds, for the most part, as his stories end with a picture of an idyllic world of educated, liberated African Americans, side by side with open-minded, unprejudiced whites. His stories leave black readers with the unsubtle encouragement that they too can be just as good as, if not better than, whites, and let whites realize that, in reality, blacks do not differ from them as much as they had thought. . Charles Chesnutt ultimately attempts, and in most cases succeeds, to convey the ideal of unity between the races. Although she addressed the topic of race and slavery as a whole, Pauline Hopkins took a particular interest in discussing the struggles faced by women – and not necessarily African American women, as shown in her novel, Contending Forces. The one drop rule makes an appearance in her story, being used, typically, to incriminate and assign blame to a woman. The horror indicated is almost palpable when Montfort asks, “Have you heard the rumors that my wife is of African descent?” (497) He fears the implications that could arise if speculation were to increase. These implications culminate in heavy consequences for the Montforts, based on gossip about Mrs. Montfort's inheritance, as well as Mr. Montfort freeing his slaves. However, circumstances could have been very different if rumors had spread that Mr Montfort was mixed race, rather than his wife. Protests for the freeing of her slaves could have been amplified, or perhaps the voices would have been ignored altogether due to her gender and social position. Hopkins intentionally makes Mrs. Montfort a sympathetic character - when she vehemently rejects Anson Pollock's advances out of respect for her husband - so that when he places suspicion on her of African contamination, readers automatically see her as the victim of an racist male society. . This society is personified by Anson Pollock's character, who is the physical representation of patriarchy and bigotry. Hopkins uses Pollock to portray the dominant and widely accepted male idea of ​​women as objects and possessions, when "the two children and their mother fell into the hands of Anson Pollock, as his share of the spoils." (499) African Americans, as well as women, were considered property of the male owner, to be tossed around at will. The children had to suffer under Pollock's control because, according to the one-drop rule, if their mother was of mixed blood, then they were African by default. Pollock's fellow lynchers exemplified the racist mentality that enveloped the South as a whole. Most of their vengeful torture was aimed at Madame Montfort, rather than her husband who had suffered a quick death. A member of the public safety committee took out the intensity of his anger on a woman and did not stop until she “satiated his vengeful thirst” for blood. (499) These men seemed to be demanding retribution for a perceived offense, whether it was Mrs. Montfort's sex or supposed race—or both—that had infuriated them to this point. Or, perhaps, they simply held her responsible.