DigiCat Publishing presents to you this special edition of "The Planter's Daughter and her Slave" by Jane Margaret Strickland. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
A refined and remarkably well-educated woman, Maria Bryan began corresponding with her sister when she was sixteen years old. As Carol Bleser points out in her introduction, Bryan travels, reads the popular books of the day, entertains visitors, and makes social calls. At the same time, however, notes Bleser, Bryan's letters belie popular notions about the privileged lives of "typical" planters' daughters in the antebellum South, for she also works at housekeeping, tends the sick at home and in the neighborhood, makes clothes for the family's slaves, and tutors younger siblings.
In the late 1630s, lured by the promise of the New World, Andrea Stuart’s earliest known maternal ancestor, George Ashby, set sail from England to settle in Barbados. He fell into the life of a sugar plantation owner by mere chance, but by the time he harvested his first crop, a revolution was fully under way: the farming of sugar cane, and the swiftly increasing demands for sugar worldwide, would not only lift George Ashby from abject poverty and shape the lives of his descendants, but it would also bind together ambitious white entrepreneurs and enslaved black workers in a strangling embrace. Stuart uses her own family story—from the seventeenth century through the present—as the pivot for this epic tale of migration, settlement, survival, slavery and the making of the Americas. As it grew, the sugar trade enriched Europe as never before, financing the Industrial Revolution and fuelling the Enlightenment. And, as well, it became the basis of many economies in South America, played an important part in the evolution of the United States as a world power and transformed the Caribbean into an archipelago of riches. But this sweet and hugely profitable trade—“white gold,” as it was known—had profoundly less palatable consequences in its precipitation of the enslavement of Africans to work the fields on the islands and, ultimately, throughout the American continents. Interspersing the tectonic shifts of colonial history with her family’s experience, Stuart explores the interconnected themes of settlement, sugar and slavery with extraordinary subtlety and sensitivity. In examining how these forces shaped her own family—its genealogy, intimate relationships, circumstances of birth, varying hues of skin—she illuminates how her family, among millions of others like it, in turn transformed the society in which they lived, and how that interchange continues to this day. Shifting between personal and global history, Stuart gives us a deepened understanding of the connections between continents, between black and white, between men and women, between the free and the enslaved. It is a story brought to life with riveting and unparalleled immediacy, a story of fundamental importance to the making of our world.
Adella Rose Ellis knows her father has plans for her future, but she longs for the freedom to forge her own destiny. When the son of Luther Ellis's longtime friend arrives on the plantation to work as the new overseer, Adella can't help but fall for his charm and captivating hazel eyes. But a surprise betrothal to an older man, followed by a devastating revelation, forces Adella to choose the path that will either save her family's future or endanger the lives of the people most dear to her heart. Seth Brantley never wanted to be an overseer. After a runaway slave shot him, ending his career as a Texas Ranger and leaving him with a painful limp, a job on the plantation owned by his father's friend is just what he needs to bide his time before heading to Oregon where a man can start over. What he hadn't bargained on was falling in love with the planter's daughter or finding that everything he once believed about Negroes wasn't true. Amid secrets unraveling and the hatching of a dangerous plan, Seth must become the very thing he'd spent the past four years chasing down: an outlaw.
Most writers associated with the first generation of British Romanticism - Blake, Coleridge, Wordsworth, Southey, Thelwall, and others - wrote against the slave trade. This edition collects a corpus of work which reflects the issues and theories concerning slavery and the status of the slave.
The essays in this collection show how histories written in the past, in different political times, dealt with, considered, or avoided and disavowed Britain’s imperial role and issues of difference. Ranging from enlightenment historians to the present, these essays consider both individual historians, including such key figures as E. A. Freeman, G. M. Trevelyan and Keith Hancock, and also broader themes such as the relationship between liberalism, race and historiography and how we might re-think British history in the light of trans-national, trans-imperial and cross-cultural analysis. ‘Britishness’ and what ‘British’ history is have become major cultural and political issues in our time. But as these essays demonstrate, there is no single national story: race, empire and difference have pulsed through the writing of British history. The contributors include some of the most distinguished historians writing today: C. A. Bayly, Antoinette Burton, Saul Dubow, Geoff Eley, Theodore Koditschek, Marilyn Lake, John M. MacKenzie, Karen O’Brien, Sonya O. Rose, Bill Schwarz, Kathleen Wilson.
Man makes history, in a fashion, and history also makes man. As with other men, the historical experience of the African over the centuries has had a profound effect on his self-image as well as on his perception of the external world. Perhaps more than other men, the African in pre-colonial times developed a strong historical tradition, and his perception of himself and his world came to depend very much on his view of the past. European colonialism, brief as it was, produced a traumatic effect largely because it tried to impose on the African a gross distortion of his historical tradition.
