Roland L. Freeman.

A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories.

Nashville, Tennessee: Rutledge Hill Press, 1996. (ISBN 1-55853-425-3). Hardcover, $34.95.

Photojournalist and cultural documentarian Roland Freeman's A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories is an unprecedented view of the world inhabited by African American quilters, largely women but a few men as well. This 379-paged celebration was 20 years in the making (really a lifetime since Freeman's interest began in childhood) and combines Freeman's work as a photographer and folklorist. Hence, there are three books here: the photographs, the text, and the photographs with the text.

One could easily go through A Communion of the Spirits viewing the photographs alone and come away with a portrait of African American quilters that speaks to their diversity as well as to their continuity. The written text often reveals the lives of the quilters and their ancestors. Many of these stories are historical records never before collected. They are tales of runaway slaves, all black towns, segregation, freedom fighters, and so forth. And although these stories and quilts are mainly Southern, Freeman demonstrates that quilting by African Americans exists all over, even in places like Vermont and South Dakota. It should not go unnoted, however, that Mississippi is central in A Communion of the Spirits. Because of the work that Freeman has done and continues to do in this state in his various roles as a photographer, folklorist, curator, and educator, his intimate knowledge shines through. As a native of Baltimore, Freeman ensures that his city and state are represented, but Mississippians are everywhere in the text: Arizona, Chicago, Oregon, New York City, Detroit.

For Freeman, A Communion of the Spirits is not the final word on African American quilting; it is only the beginning. Noting that there is always work to be done, Freeman, in the true spirit of the art form itself, welcomes contribution.

Ronda Racha Penrice