Ancient Roman freedman and pavement maker Libertus investigates the death of the pie-maker and the disappearance of his slave amid 'green man' sightings Libertus has an important order to fulfil for Quintus Severus who has commissioned a magnificent new mosaic. But when Lucius, the pie-maker, is found dead in Libertus’ workshop, and Libertus’ faithful slave Minimus is missing, he is once again dragged into a criminal underworld. Even more mysterious is the sighting of a ‘green man’ lurking outside his workshop around the time the murder took place. Can Libertus find Minimus, clear him of the murder of Lucius, and discover who really killed the pie-seller, and why? The omens aren’t looking good...
Winner of the Coretta Scott King Book Award For young readers comes a poetic commemoration of the life of an 18th-century slave, from a past poet laureate and three-time National Book Award finalist For over 200 years, the Mattatuck Museum in Connecticut has housed a mysterious skeleton. In 1996, community members decided to find out what they could about it. Historians discovered that the bones were those of an enslaved man named Fortune, who was owned by a local doctor. After Fortune’s death, the doctor rendered the bones. Further research revealed that Fortune had married, had fathered four children, and had been baptized later in life. His bones suggest that after a life of arduous labor, he died in 1798 at about the age of 60. The Manumission Requiem is Marilyn Nelson’s poetic commemoration of Fortune’s life. Detailed notes and archival photographs enhance the reader’s appreciation of the poem.
NAACP Image Award Nominee for Outstanding Literary Work - Non-Fiction A Kirkus Reviews Best Book of The Year With journalistic skill, heart, and hope, Requiem for the Massacre reckons with the tension in Tulsa, Oklahoma, one hundred years after the most infamous act of racial violence in American history More than one hundred years ago, the city of Tulsa, Oklahoma, perpetrated a massacre against its Black residents. For generations, the true story was ignored, covered up, and diminished by those in power and in a position to preserve the status quo. Blending memoir and immersive journalism, RJ Young shows how, today, Tulsa combats its racist past while remaining all too tolerant of racial injustice. Requiem for the Massacre is a cultural excavation of Tulsa one hundred years after one of the worst acts of domestic terrorism in U.S. history. Young focuses on unearthing the narrative surrounding previously all-Black Greenwood district while challenging an apocryphal narrative that includes so-called Black Wall Street, Booker T. Washington, and Black exceptionalism. Young provides a firsthand account of the centennial events commemorating Tulsa's darkest day as the city attempts to reckon with its self-image, commercialization of its atrocity, and the aftermath of the massacre that shows how things have changed and how they have stayed woefully the same. As Tulsa and the United States head into the next one hundred years, Young’s own reflections thread together the stories of a community and a nation trying to heal and trying to hope.
In Critique of Black Reason eminent critic Achille Mbembe offers a capacious genealogy of the category of Blackness—from the Atlantic slave trade to the present—to critically reevaluate history, racism, and the future of humanity. Mbembe teases out the intellectual consequences of the reality that Europe is no longer the world's center of gravity while mapping the relations among colonialism, slavery, and contemporary financial and extractive capital. Tracing the conjunction of Blackness with the biological fiction of race, he theorizes Black reason as the collection of discourses and practices that equated Blackness with the nonhuman in order to uphold forms of oppression. Mbembe powerfully argues that this equation of Blackness with the nonhuman will serve as the template for all new forms of exclusion. With Critique of Black Reason, Mbembe offers nothing less than a map of the world as it has been constituted through colonialism and racial thinking while providing the first glimpses of a more just future.
A book all Americans should read, Slave Nation reveals the key role racism played in the American Revolutionary War, so we can see our past more clearly and build a better future. In 1772, the High Court in London freed a slave from Virginia named Somerset, setting a precedent that would end slavery in England. In America, racist fury over this momentous decision united the Northern and Southern colonies and convinced them to fight for independence. Meticulously researched and accessible, Slave Nation provides a little-known view of the birth of our nation and its earliest steps toward self-governance. Slave Nation is a fascinating account of the role slavery played in the American Revolution and in the framing of the Constitution, offering a fresh examination of the "fight for freedom" that embedded racism into our national identity, led to the Civil War, and reverberates through Black Lives Matter protests today. "A radical, well-informed, and highly original reinterpretation of the place of slavery in the American War of Independence."—David Brion Davis, Yale University
Requiem for a Lost City shows us the reality of Civil War Atlanta from the eve of secession to the memorials for the fallen, through the memories of a participant. Sallie Clayton would have been the same age as the fictional Scarlett O'Hara during the Civil War. Sallie Clayton's memoirs, however, are not a work of fiction but bittersweet reminiscences of growing up in a doomed city in the midst of losing a war. Although her memoirs provide invaluable detail on Civil War Atlanta, they also tell of her personal experiences on a plantation in Montgomery, Alabama, and in postwar Augusta and Athens. Sallie Clayton belonged to one of Georgia's wealthiest and most prominent families. Her memoirs are colored by the losses suffered by her family. Robert Davis's introduction to this work illustrates the background of the Claytons, Sallie's writings, and Civil War Atlanta, providing a balanced account of life at "the crossroads of the Confederacy." The introduction also provides a corrective to the popular, Gone With the Wind view of Civil War Atlanta.
Newbery Medal Winner: A young Louisiana boy faces the horrors of slavery when he is kidnapped and forced to work on a slave ship in this iconic novel. Thirteen-year-old Jessie Bollier earns a few pennies playing his fife on the docks of New Orleans. One night, on his way home, a canvas is thrown over his head and he’s knocked unconscious. When he wakes up, Jessie finds himself aboard a slave ship, bound for Africa. There, the Moonlight picks up ninety-eight black prisoners, and the men, women, and children, chained hand and foot, are methodically crammed into the ship’s hold. Jessie’s job is to provide music for the slaves to dance to on the ship’s deck—not for amusement but for exercise, as a way to to keep their muscles strong and their bodies profitable. Over the course of the long voyage, Jessie grows more and more sickened by the greed of the sailors and the cruelty with which the slaves are treated. But it’s one final horror, when the Moonlight nears her destination, that will change Jessie forever. Set during the middle of the nineteenth century, when the illegal slave trade was at its height, The Slave Dancer not only tells a vivid and shocking story of adventure and survival, but depicts the brutality of slavery with unflinching historical accuracy.
Contributions by Tim Armstrong, Edward A. Chappell, W. Ralph Eubanks, Amy A. Foley, Michael Gorra, Sherita L. Johnson, Andrew B. Leiter, John T. Matthews, Julie Beth Napolin, Erin Penner, Stephanie Rountree, Julia Stern, Jay Watson, and Randall Wilhelm In 1930, the same year he moved into Rowan Oak, a slave-built former plantation home in his hometown of Oxford, Mississippi, William Faulkner published his first work of fiction that gave serious attention to the experience and perspective of an enslaved individual. For the next two decades, Faulkner repeatedly returned to the theme of slavery and to the figures of enslaved people in his fiction, probing the racial, economic, and political contours of his region, nation, and hemisphere in work such as The Sound and the Fury; Light in August; Absalom, Absalom!; and Go Down, Moses. Faulkner and Slavery is the first collection to address the myriad legacies of African chattel slavery in the writings and personal history of one of the twentieth century’s most incisive authors on US slavery and the long ordeal of race in the Americas. Contributors to the volume examine the constitutive links among slavery, capitalism, and modernity across Faulkner’s oeuvre. They study how the history of slavery at the University of Mississippi informs writings like Absalom, Absalom! and trace how slavery’s topologies of the rectilinear grid or square run up against the more reparative geography of the oval in Faulkner’s narratives. Contributors explore how the legacies of slavery literally sound and resound across centuries of history, and across multiple novels and stories in Faulkner’s fictional county of Yoknapatawpha, and they reveal how the author’s remodeling work on his own residence brought him into an uncomfortable engagement with the spatial and architectural legacies of chattel slavery in north Mississippi. Faulkner and Slavery offers a timely intervention not only in the critical study of the writer’s work but in ongoing national and global conversations about the afterlives of slavery and the necessary work of antiracism.
In these 'shrines of remembrance' for the millions of the victims of transatlantic slavery, Kwame Dawes constructs a sequence which laments, rages, mourns, but also celebrates survival. Focusing on individual moments in this holocaust which lasted nearly four hundred years, these poems both cauterize a lingering infection and offer the oil of healing. In these taut lyric pieces, Dawes achieves what might seem impossible: saying something fresh about a subject which, despite attempts at historical amnesia, will not go away. He does it by eschewing sentimentality, rant or playing to the audience, black or white. His poems go to the heart of the historical experience and its contemporary reverberations. This sequence was inspired by the award-winning book, The Middle Passage: White Ships/Black Cargo by the American artist Tom Feelings.
