The fight for racial equality in the nineteenth century played out not only in marches and political conventions but also in the print and visual culture created and disseminated throughout the United States by African Americans. Advances in visual technologies--daguerreotypes, lithographs, cartes de visite, and steam printing presses--enabled people to see and participate in social reform movements in new ways. African American activists seized these opportunities and produced images that advanced campaigns for black rights. In this book, Aston Gonzalez charts the changing roles of African American visual artists as they helped build the world they envisioned. Understudied artists such as Robert Douglass Jr., Patrick Henry Reason, James Presley Ball, and Augustus Washington produced images to persuade viewers of the necessity for racial equality, black political leadership, and freedom from slavery. Moreover, these activist artists' networks of transatlantic patronage and travels to Europe, the Caribbean, and Africa reveal their extensive involvement in the most pressing concerns for black people in the Atlantic world. Their work demonstrates how images became central to the ways that people developed ideas about race, citizenship, and politics during the nineteenth century.
Winch has written the first full-length biography of James Forten, a hero of African American history and one of the most remarkable men in 19th-century America. Born into a free black family in 1766, Forten served in the Revolutionary War as a teenager. By 1810 he had earned the distinction of being the leading sailmaker in Philadelphia. Soon after Forten emerged as a leader in Philadelphia's black community and was active in a wide range of reform activities. Especially prominent in national and international antislavery movements, he served as vice-president of the American Anti-Slavery Society and became close friends with William Lloyd Garrison to whom he lent money to start up the Liberator. His family were all active abolitionists and a granddaughter, Charlotte Forten, published a famous diary of her experiences teaching ex-slaves in South Carolina's Sea Islands during the Civil War. This is the first serious biography of Forten, who stands beside Harriet Tubman, Frederick Douglass, Booker T. Washington, and Martin Luther King, Jr., in the pantheon of African Americans who fundamentally shaped American history.
In Philadelphia Stories, Samuel Otter finds literary value, historical significance, and political urgency in a sequence of texts written in and about Philadelphia between the Constitution and the Civil War. Historians such as Gary B. Nash and Julie Winch have chronicled the distinctive social and political space of early national Philadelphia. Yet while individual writers such as Charles Brockden Brown, Edgar Allan Poe, and George Lippard have been linked to Philadelphia, no sustained attempt has been made to understand these figures, and many others, as writing in a tradition tied to the city's history. The site of William Penn's "Holy Experiment" in religious toleration and representative government and of national Declaration and Constitution, near the border between slavery and freedom, Philadelphia was home to one of the largest and most influential "free" African American communities in the United States. The city was seen by residents and observers as the laboratory for a social experiment with international consequences. Philadelphia would be the stage on which racial character would be tested and a possible future for the United States after slavery would be played out. It would be the arena in which various residents would or would not demonstrate their capacities to participate in the nation's civic and political life. Otter argues that the Philadelphia "experiment" (the term used in the nineteenth-century) produced a largely unacknowledged literary tradition of peculiar forms and intensities, in which verbal performance and social behavior assumed the weight of race and nation.