Surviving Slavery in the British Caribbean


Book Description

A groundbreaking study of slavery and power in the British Caribbean that foregrounds the struggle for survival Atlantic slave societies were notorious deathtraps. In Surviving Slavery in the British Caribbean, Randy M. Browne looks past the familiar numbers of life and death and into a human drama in which enslaved Africans and their descendants struggled to survive against their enslavers, their environment, and sometimes one another. Grounded in the nineteenth-century British colony of Berbice, one of the Atlantic world's best-documented slave societies and the last frontier of slavery in the British Caribbean, Browne argues that the central problem for most enslaved people was not how to resist or escape slavery but simply how to stay alive. Guided by the voices of hundreds of enslaved people preserved in an extraordinary set of legal records, Browne reveals a world of Caribbean slavery that is both brutal and breathtakingly intimate. Field laborers invoked abolitionist-inspired legal reforms to protest brutal floggings, spiritual healers conducted secretive nighttime rituals, anxious drivers weighed the competing pressures of managers and the condition of their fellow slaves in the fields, and women fought back against abusive masters and husbands. Browne shows that at the core of enslaved people's complicated relationships with their enslavers and one another was the struggle to live in a world of death. Provocative and unflinching, Surviving Slavery in the British Caribbean reorients the study of Atlantic slavery by revealing how differently enslaved people's social relationships, cultural practices, and political strategies appear when seen in the light of their unrelenting struggle to survive.




Dear Master


Book Description

Dear Master is a rare firsthand look at the values, self-perception, and private life of the black American slave. The fullest known record left by an American slave family, this collection of more than two hundred letters -- including seven discovered since the book's original appearance -- reveals the relationship of two generations of the Skipwith family with the Virginia planter John Hartwell Cocke. - Back cover.




The Slave Drivers


Book Description

The Florentine artist Agnolo Bronzino (1503-1572) has long been celebrated as the consummate court painter and his sumptuous portrayals of Duke Cosimo de' Medici and Duchess Eleonora de Toledo have become icons of Italian Renaissance art. In this volume, an international assembly of scholars advances modern perceptions of Bronzino's art by applying fresh research paradigms not only to the well-known portraits, but also to other painted subjects, frescoes, and tapestries within the context of ancient Roman precedents, Renaissance European court culture, and postmodernist theory. The seven essays supplement two recent Bronzino exhibitions in New York and Florence (2010) by addressing Bronzino's portraiture, creative process, and tapestry production as well as past and present attitudes towards nudity, sexuality, landscapes, and poetic satire in Bronzino's imagery.




They Were Her Property


Book Description

Winner of the Los Angeles Times Book Prize in History: a bold and searing investigation into the role of white women in the American slave economy “Stunning.”—Rebecca Onion, Slate “Makes a vital contribution to our understanding of our past and present.”—Parul Sehgal, New York Times “Bracingly revisionist. . . . [A] startling corrective.”—Nicholas Guyatt, New York Review of Books Bridging women’s history, the history of the South, and African American history, this book makes a bold argument about the role of white women in American slavery. Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave‑owning women were sophisticated economic actors who directly engaged in and benefited from the South’s slave market. Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth. Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave‑owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment. By examining the economically entangled lives of enslaved people and slave‑owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America.




Indian Arrivals, 1870-1915


Book Description

Indian Arrivals 1870-1915: Networks of British Empire examines how at the height of empire Britain was threaded through with Indian influences and ideas, in spite of colonial divisions. Throughout, the study is motivated by the notion that Indian travellers learned from the friendships they made in the west but also that they contributed to the development of a late Victorian cosmopolitanism of which they were an intrinsic part. Tracing the intricateencounters that took place between 'arriving' Indians and their British hosts, often through the medium of literature and journalism, the book paints a more textured picture than has been available to date ofcross-cultural contact between Indians and Britons and in so doing explores the myriad ways in which the centre of the nineteenth-century imperial world was criss-crossed by its margins, just as the margins were by the centre. Indian Arrivals offers a sustained reflection on what it is to arrive in another culture, in all senses of the word.







The Delectable Negro


Book Description

Winner of the 2015 LGBT Studies Award presented by the Lambda Literary Foundation Unearths connections between homoeroticism, cannibalism, and cultures of consumption in the context of American literature and US slave culture that has largely been ignored until now Scholars of US and transatlantic slavery have largely ignored or dismissed accusations that Black Americans were cannibalized. Vincent Woodard takes the enslaved person’s claims of human consumption seriously, focusing on both the literal starvation of the slave and the tropes of cannibalism on the part of the slaveholder, and further draws attention to the ways in which Blacks experienced their consumption as a fundamentally homoerotic occurrence. The Delectable Negro explores these connections between homoeroticism, cannibalism, and cultures of consumption in the context of American literature and US slave culture. Utilizing many staples of African American literature and culture, such as the slave narratives of Olaudah Equiano, Harriet Jacobs, and Frederick Douglass, as well as other less circulated materials like James L. Smith’s slave narrative, runaway slave advertisements, and numerous articles from Black newspapers published in the nineteenth century, Woodard traces the racial assumptions, political aspirations, gender codes, and philosophical frameworks that dictated both European and white American arousal towards Black males and hunger for Black male flesh. Woodard uses these texts to unpack how slaves struggled not only against social consumption, but also against endemic mechanisms of starvation and hunger designed to break them. He concludes with an examination of the controversial chain gang oral sex scene in Toni Morrison’s Beloved, suggesting that even at the end of the twentieth and beginning of the twenty-first century, we are still at a loss for language with which to describe Black male hunger within a plantation culture of consumption.




Slave Country


Book Description

Rothman explores how slavery flourished in a new nation dedicated to the principle of equality among free men, and reveals the enormous consequences of U.S. expansion into the region that became the Deep South.




Recollections of Slavery


Book Description

Recollections of Slavery By A Runaway Slave The True Story of Sugar House, Charleston, South Carolina The Slave Torture House A Slave Narrative Serialized in The Emancipator in 1838 .....and then carried me to the Sugar House in Charleston. As soon as we got there they made me strip off all my clothes, and searched me to see if I had anything hid. They found nothing but a knife. After that they drove me into the yard where I staid till night. As soon as master's father, Mordecai Cohen, heard that I was caught, he sent word to his son, and the next morning master came. He said "well, you staid in the woods as long as you could, now which will you do,--stay here, or go home?" I told him I did'nt know. Then he said if I would not go home willingly I might stay there two or three months. He said "Mr. Wolf, give this fellow fifty lashes and put him on the tread mill. I'm going North, and shall not be back till July, and you may keep him till that time." When they had got me fixed in the rope good, and the cap on my face, they called Mr. Jim Wolf, and told him they had me ready. He came and stood till they had done whipping me. One drew me up tight by the rope and the other whipped, and Wolf felt of my skin to tell when it was tight enough. They whipped till he stamped. Then they rubbed brine in, and put on my old clothes which were torn into rags while I was in the swamp, and put me into a cell. The cells are little narrow rooms about five feet wide, with a little hole up high to let in air. I was kept in the cell till next day, when they put me on the tread mill, and kept me there three days, and then back in the cell for three days. And then I was whipped and put on the tread mill again, and they did so with me for a fortnight, just as Cohen had directed. He told them to whip me twice a week till they had given me two hundred lashes. My back, when they went to whip me, would be full of scabs, and they whipped them off till I bled so that my clothes were all wet. Many a night I have laid up there in the Sugar House and scratched them off by the handful. There was a little girl, named Margaret, that one day did not work to suit the overseer, and he lashed her with his cow-skin. She was about seven years old. As soon as he had gone she ran away to go to her mother, who was at work on the turnpike road, digging ditches and filling up ruts made by the wagons. She had to go through a swamp, and tried to cross the creek in the middle of the swamp, the way she saw her mother go every night. It had rained a great deal for several days, and the creek was 15 or 16 feet wide, and deep enough for horses to swim it. When night came she did not come back, and her mother had not seen her. The overseer cared very little about it, for she was only a child and not worth a great deal. Her mother and the rest of the hands hunted after her that night with pine torches, and the next night after they had done work, and every night for a week, and two Sundays all day. They would not let us hunt in the day time any other day. Her mother mourned a good deal about her, when she was in the camp among the people, but dared not let the overseer know it, because he would whip her. In about two weeks the water had dried up a good deal, and then a white man came in and said that "somebody's little nigger was dead down in the brook." We thought it must be Margaret, and afterwards went down and found her. She had fallen from the log-bridge into the water. Something had eat all her flesh off, and the only way we knew her was by her dress.




Slavery & Race in American Popular Culture


Book Description

Spanning more than three centuries, from the colonial era to the present, Van Deburg's overview analyzes the works of American historians, dramatists, novelists, poets, lyricists, and filmmakers -- and exposes, through those artists' often disquieting perceptions, the cultural underpinnings of American current racial attitudes and divisions. Crucial to Van Deburg's analysis is his contrast of black and white attitudes toward the Afro-American slave experience. There has, in fact, been a persistent dichotomy between the two races' literary, historical, and theatrical representations of slavery. If white culture-makers have stressed the "unmanning" of the slaves and encouraged such steteotypes as the Noble Savage and the comic minstrel to justify the blacks' subordination, Afro-Americans have emphasized a counter self-image that celebrates the slaves' creativity, dignity, pride, and assertiveness. ISBN 0-299-09634-3 (pbk.) : $12.50.