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“Masterly.”—Adam Hochschild, The New York Times Book Review In this widely praised history of an infamous institution, award-winning scholar Marcus Rediker shines a light into the darkest corners of the British and American slave ships of the eighteenth century. Drawing on thirty years of research in maritime archives, court records, diaries, and firsthand accounts, The Slave Ship is riveting and sobering in its revelations, reconstructing in chilling detail a world nearly lost to history: the "floating dungeons" at the forefront of the birth of African American culture.
Traces; slave names, the islands and cities into which we are born, our musics and rhythms, our genetic compositions, our stories of our lost utopias and the atrocities inflicted upon our ancestors, by our ancestors, the social structure of our cities, the nature of our diasporas, the scars inflicted by history. These are all the remnants of the middle passage of the slave ship for those in the multiple diasporas of the globe today, whose complex histories were shaped by that journey. Whatever remnants that once existed in the subjectivities and collectivities upon which slavery was inflicted has long passed. But there are hints in material culture, genetic and cultural transmissions and objects that shape certain kinds of narratives - this is how we know ourselves and how we tell our stories. This path-breaking book uncovers the significance of the memory of the slave ship for modernity as well as its role in the cultural production of modernity. By so doing, it examines methods of ethnography for historical events and experiences and offers a sociology and a history from below of the slave experience. The arguments in this book show the way for using memory studies to undermine contemporary slavery.
Reconstructs the lives of 110 men, women, and children from Benin and Nigeria who arrived in Alabama in 1860, deported to the United States as slaves more than fifty years after the abolition of the international slave trade.
From 1754 to 1755, the slave ship Hare completed a journey from Newport, Rhode Island, to Sierra Leone and back to the United States—a journey that transformed more than seventy Africans into commodities, condemning some to death and the rest to a life of bondage in North America. In this engaging narrative, Sean Kelley painstakingly reconstructs this tumultuous voyage, detailing everything from the identities of the captain and crew to their wild encounters with inclement weather, slave traders, and near-mutiny. But most importantly, Kelley tracks the cohort of slaves aboard the Hare from their purchase in Africa to their sale in South Carolina. In tracing their complete journey, Kelley provides rare insight into the communal lives of slaves and sheds new light on the African diaspora and its influence on the formation of African American culture. In this immersive exploration, Kelley connects the story of enslaved people in the United States to their origins in Africa as never before. Told uniquely from the perspective of one particular voyage, this book brings a slave ship's journey to life, giving us one of the clearest views of the eighteenth-century slave trade.
Published in 1967, The Slave Ship Wanderer details the journey of the elegant yacht that was used to secretly land a cargo of 400 enslaved Africans off the coast of Jekyll Island, Georgia, in 1859. It was the last successful large-scale importation of slaves into the United States, and it was done in defiance of a federal law. The Wanderer's crew had out-run ships of both the British and American Navies and the creators of the plot went on to evade federal marshals as they attempted to sell the slaves throughout the South. Tom Henderson Wells documents the story behind the prominent Georgian, Charles Lamar, who engineered the plot. He also explores the regional and national attention the story received and the failure to prosecute those involved. In tracing the story of the Wanderer, Wells provides insight into the heated political and social climate of the South on the verge of secession.
The bounty hunters introduced in "Shadows of the Empire", and who returned in "The Mandalorian Armor", come to life in this compelling new novel as Boba Fett battles a conspiracy, Bossk struggles to rule the other bounty hunters, and Kuat fights the maneuverings of Prince Xizor.
How an eighteenth-century engraving of the slave ship became a cultural icon of black resistance, identity, and remembrance One of the most iconic images of slavery is a schematic wood engraving depicting the human cargo hold of a slave ship. First published by British abolitionists in 1788, it exposed this widespread commercial practice for what it really was--shocking, immoral, barbaric, unimaginable. Printed as handbills and broadsides, the image Cheryl Finley has termed the "slave ship icon" was easily reproduced, and by the end of the eighteenth century it was circulating by the tens of thousands around the Atlantic rim. Committed to Memory provides the first in-depth look at how this artifact of the fight against slavery became an enduring symbol of black resistance, identity, and remembrance. Finley traces how the slave ship icon became a powerful tool in the hands of British and American abolitionists, and how its radical potential was rediscovered in the twentieth century by black artists, activists, writers, filmmakers, and curators. Finley offers provocative new insights into the works of Amiri Baraka, Romare Bearden, Betye Saar, and many others. She demonstrates how the icon was transformed into poetry, literature, visual art, sculpture, performance, and film--and became a medium through which diasporic Africans have reasserted their common identity and memorialized their ancestors. Beautifully illustrated, Committed to Memory features works from around the world, taking readers from the United States and England to West Africa and the Caribbean. It shows how contemporary black artists and their allies have used this iconic eighteenth-century engraving to reflect on the trauma of slavery and come to terms with its legacy.
The fashionables, they tell me their artistic opinion. They just want to know if a painting is hot. Whether it will gain. And then they criticise anyone who is different, anyone who's not on the 'direct route' to taste. Fuck 'em. Turner, the English romantic landscape artist and 'painter of light', was a man obsessed. Intensely prolific he was heavily reliant on his father, deeply affected by his mother's rejections and isolated from the usual breed of artists. English painting is dead. It's dealers making fortunes out of sentimental dross. Dogs. Cherubs. The Painter by Rebecca Lenkiewicz premiered at the Arcola Theatre, London, in January 2011 in the production which marked the opening of its new premises on Ashton Street.
