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booth books

Welcome to Booth Books, the book publishing division of the literary magazine Booth. Formerly known as Pressgang, Booth Books seeks to further establish its auspicious reputation for publishing cutting-edge collections of fiction, nonfiction, comics, and poetry. 

Current Project
Birth of the White House Cool:
Reflections on the Obama Years

Call for Submissions: We invite submissions of literature, art, and graphic narratives that consider the impact of the Obama family on the past decade of American culture. We especially invite essays and poems that explore moments that enrich our understanding of the president’s relationship to modern culture, our understanding of race and politics, and/or our understanding of how “cool” can exist inside of institutional frameworks. 

Submit here.

About this project: President Obama has slow-jammed the news with Jimmy Fallon, freestyled with Lin-Manuel Miranda on the White House lawn, sung Al Green’s “Let’s Stay Together” at the Apollo Theater, rebuilt the White House tennis lawn into a basketball court, and recast the “In Performance at the White House” series with a dynamic list of some of today’s top African-American artists, including Common, John Legend, Usher, Esperanza Spalding, Gary Clark, Jr., and more. Along the way, President Obama has shifted the possibilities of how the standing president intersects with current events. This collection will offer a robust gathering of works that illuminate this new intersection between American politics and popular culture. 

 

>via: http://www.boothbooks.org/?utm_content=44736565&utm_medium=social&utm_source=twitter

 

 

fireside

Fireside is now open to submissions.

Fireside will be open to submissions for several one-week periods in 2017. We accept flash fiction of up to 1,000 words, and short stories from 1,000 to 4,000 words.

Here’s our current schedule (subject to change).

  • April 16-22 (Short stories only)
  • June 18-24 (Flash fiction and short stories)
  • July 23-29 (Flash fiction only)
  • September 17-23 (Flash fiction and short stories)
  • November 5-11 (Flash fiction and short stories)

Fireside is only able to publish and pay for our fantastic stories with the support of our Patreon backers. As our support grows, we’ll be able to publish more stories and longer stories, and raise our already leading pay rates even higher. Please consider supporting us on Patreon.

The rules

So, you’ve got a story to tell? We want to hear it. Probably.

(Please read all our guidelines before submitting. Seriously.)

Boy, are we mean. Believe us, though, all these rules are based on actual problems we have encountered in previous submissions periods. We get thousands of submissions and have a small staff, so please don’t make our lives harder.

Fireside accepts original, previously unpublished submissions of short fiction, of any genre, up to 4,000 words. That’s a hard limit, so please don’t ask if your 4,015-word story is OK. It’s not. We do not accept unsolicited submissions of novels, comics, poetry, art, photography, or anything other than short stories of up to 4,000 words. Again, don’t ask. Don’t query. Just don’t.

If you submit a novel or anything way over the word count limits, we’ll probably blacklist you.

Under our new, more frequent submissions schedule, you can only submit one story per submissions period. If you get a rejection, you can’t submit again during that period.

We don’t accept submissions that are currently submitted elsewhere (known as simultaneous submissions). We don’t accept submissions that you have published yourself, be it on your blog, via Patreon, or anywhere else.

If we’ve rejected a story previously, don’t submit it again unless we’ve asked you to, even if it’s been heavily revised. If you do submit it, we’ll reject it unread. We are paying attention.

You can ONLY submit stories through Submittable. If you email anyone on our staff a story, it will be deleted unread.

OK? Great! On to the fun stuff!

Payment & rights

Fireside pays 12.5 cents per word, with payment on completion of edits (which generally happen about a month before publication). We buy first world publication rights and six-month exclusivity, as well as the right to reprint the story once, non-exclusively, in a Fireside anthology. You can see exactly what rights are acquired by reading our contract boilerplate for stories. You can see our contract boilerplate for illustrations, as well.

Fireside pays in U.S. dollars, and can send payments to most places in the world, using the recipient’s preferred payout method (within reason).

What we’re looking for

The best way to get an idea of what we love is to read stories we’ve already published. In general though, Fireside loves great storytelling, meaning stories that go somewhere, that keep people reading to find out what happens next.

We’re not looking for character studies or metafiction or hallucinatory visions. (We like those things; it’s just not what we publish in Fireside.)

We really do mean any genre, too. Fireside has a heavy tilt toward speculative fiction, but some of our favorite stories have been completely non-genre. (Sell It Like Death is just one example.)

We want to hear the stories only you can tell. We love stories that reflect writers’ backgrounds, especially those of traditionally marginalized communities (sometimes referred to as Own Voices stories). This is NOT at all to say if you are a writer from a marginalized community that your submission has to be Own Voices.

We are committed to being inclusive of all the wonderful differences in our world, both in terms of who we publish and the subjects of the stories. Please don’t self-reject. (But if you’re a white writer you better be sure you’ve done your research and aren’t just throwing a brown face on a white character. Or whatever the equivalent is for the kind of character you are writing outside of your experience of privilige.)

Speaking of which:

Inclusivity

Inclusivity. Diversity. Decolonization. There are a lot of ways people are talking about breaking the white-male dominance of publishing. We tend to like inclusivity as a mission statement, but however you phrase it, Fireside wants to reflect the endless array of people in the world.

We welcome stories from all writers, and we are especially interested in stories including (but not limited to) the lives, experiences, and viewpoints of women, people of color, LGBTQIA people, people with disabilities, members of religious minorities, and people outside the United States. We strongly encourage submissions from people of those backgrounds, and all others whom traditional publishing has historically excluded.

In July 2016, we published #BlackSpecFic, a special report on the marginalization of black writers in speculative fiction magazines. You can read all the details at the link above, but the summary is: it’s really terrible. To that end, Fireside particularly encourages submissions from black writers. Send us your stories.

We have gone back and forth about whether to have submissions periods targeted to black writers and members of other marginalized communities. For now, we are not doing this. After a lot of discussion within Fireside and with writers, editors, and other trusted voices, we do not want to ghettoize submissions, or create a sense that marginalized writers have to wait their turn to submit. But we are going to track how this goes, and we are very open to revisiting this policy in the future if things do not improve.

7 easy ways to get banned from submitting

OK let’s get mean again for a second. We get some total garbage in our submissions. It pisses us off, it upsets our staff & our readers, and we’re never ever going to publish it. So here is a list of things that will get you banned from Fireside:

  • Depictions of rape or sexual assault.
  • Depictions of child molestation or brutalization of children.
  • Any sexual depictions of children. Yes, anyone under 18 is a child. (Seriously what is wrong with you?)
  • Depictions of brutalization of women, people of color, LGBTQIA people, people with disabilities, or any other marginalized people for reasons of hate.
  • Depictions of graphic torture.
  • Depictions of animal abuse.
  • Plagiarism.

This is not saying stories cannot touch on, address, or talk about these issues. But we don’t want these acts illustrated in detail in Fireside.

But if we think it crosses the line, we’ll blacklist you. There are no appeals.

And seriously, don’t email us to argue why your terrible subject matter deserves to be considered. You can publish your story somewhere else. Maybe in a flaming dumpster.

We also don’t want

Here are things we aren’t interested in publishing stories about. They won’t get you banned, but you’re wasting your time and ours by submitting them.

  • Cannibals.
  • Terrorism or disaster porn (we know it when we see it).
  • Erotica.
  • Stories in which sexual attraction is the main focus of the entire story.
  • Stories in which the focus is on the main character’s dick. Or what he wants to do with his dick. This is a surprisingly popular subject matter in our submissions inbox. Just no.
  • Fanfic, or any stories set in someone else’s world or using their characters.
  • Stories “ripped from the headlines.”

Manuscript formatting

Please use standard manuscript format. We’ve been loose about this requirement in the past, but we are not going to be any longer. Here is a good guide to standard manuscript format.

Please use only Times New Roman or a Courier font. Our assistant editor is low vision and would like to be able to actually read your story, and serifed fonts help with this. And for the love of god, only use onefont and do not use font colors other than black, backgrounds, or any illustrations.

Make sure you’ve turned off mark-up and sent a document free of comments and edits.

We accept only .doc, .docx, and .rtf files.

A final note

Fireside usually publishes no more than 10,000 words a month. We accept submissions up to 4,000 words, but frankly, we have a very high bar for stories that long, because they take up such a big chunk of our word count. And we’re perpetually short on flash pieces (under 1,000 words). This is to say, if you want an easy way to increase your chances, don’t automatically send us your longest pieces. Got a great 2,500-word story? Please send it! We love really short fiction, and we need it!

How to submit

Fireside is now open for short fiction submissions
until April 22.

Read the rules and then hit the button below to submit.
SUBMIT TO FIRESIDE

 

>via: http://firesidefiction.com/about/#submissions-guidelines

 

 

 

 

 

01.24.17

01.24.17

 

 

 

 

ray blk 01

Ray BLK,

the ‘Sound of 2017,’

Speaks About

Black British

Womanhood and

Calling Out

Homophobia

 

 

by AMARACHI NWOSU

 

 

South London artist Rita Ekwere, better known as Ray BLK, is using her talents to express her truth and inspire a generation to push boundaries.

As the first ever-independent artist to win BBC Music’s Sound of 2017 poll, Ray is setting the tone for a great year ahead. Her unique, powerful sound and overall message is shaping a new wave for U.K. artists.

Born in Nigeria, Ray moved to London at the age of four. Her music takes inspiration from that dual identity, which allows her to celebrate both her Nigerian heritage and British upbringing.

Ray BLK’s songs explore personal relationships, the opportunities and limitations that exist growing up in South London, and how she overcame by staying true to herself and her vision.

Beyond using music as a way to tell her story, Ray’s also utilizing her platform to discuss major social topics like black womanhood, homosexuality and, even, teenage pregnancy.

Durt, her debut EP, features a number of songs that take influence from soul, hip-hop and ’90s R&B. Her single’s “My Hood” with Stormzy, “50/50,” and the SG Lewis-produced “Chill Out” have made big splashes on UK radio and attracted some of the industries most noteworthy figures.

Below, we talk with Ray about inspirations, growing up in south London and some her favorite African artists.

What inspired you to get into music?

I was always involved in it from a really young age—from being in gospel choirs at school to being in the adult choir at church, I always was involved in singing. Also, watching a lot of music video channels was my hobby when I’d come back home from school, between the ages of seven and sixteen. Music was something that was always within me.

How has South London shaped you?

I think South London culture is probably one of the biggest aspects of my life that inspired me to get into music. Growing up in school, everyone used to make music for fun and for our own entertainment because there wasn’t much else to do.

In the playground at school and lunchtime, everyone would huddle up and the boys would rap and freestyle. I used to really love grime when I was a teenager and I would listen to pirate radioso I’d say that’s a big part of London culture that has influenced me as well.

Listening to grime when I was really young made me want to rap myself, so I used to write raps before I actually started writing songs. Growing up in that kind of raw music culture has really influenced me musically and as an individual.

ray-blk

What role does your Nigerian heritage play in your music?

I feel like my upbringing has definitely influenced my music, just purely because I come from a very musical family and the music that was played in my house was either gospel music or Nigerian artists like Fela. I grew up listening to that and feel like those sounds also influence my music. I hope to make Nigerian music in the future with my own unique approach.

Your music video for “Chill Out” addresses the issue
of homophobia within Caribbean communities. This
is also a big issue amongst African communities. Why
was this an important topic for you to address?

I feel like homosexuality is a topic that the black community tries to shy away from. We don’t really like to talk about it and we often pretend that there are no gay black people that exist. I felt like it was something that I needed to put a spotlight on.

Even in Nigerian culture, I think we speak about it a lot less. We don’t talk about anything like that in our musicm whereas in Caribbean music, they speak against homosexuality all the time but we kind of just pretend it doesn’t exist. I felt like it was something that someone needed to speak up about and I didn’t want to wait for someone else to address it.

Who are some African artists that have inspired you?

Honestly, I’ve been really inspired by Wizkid‘s career so far and how he’s gone from being an artist that originally catered to a Nigerian audience to being a cross-over artist with a worldwide audience.

I think that’s been because no matter who he makes a song with or what song he makes, it celebrates Nigerian culture. I think people actually take to that. The more you celebrate yourself, the more people see how cool it is, and I feel like the rest of the world has really recognized that. I really admire his career and how he’s managed to stay true to himself.

For our parents’ generation that grew up in Nigeria and
got their foundation there, it’s easier for them to be
proud of their Nigerian roots, but as the diaspora and
expats we have to learn to love our roots. How do you
think you have done that?

You know what the thing is for me? I always say that I feel like I’m a hybrid. I’m very much a London girl, but I’m also very much a Nigerian girl. Growing up at home my mum would say, “When you leave this house and you go to school you’re in England, but when we’re inside this house, this is Nigeria.”

We live under Nigerian laws in that house and I think, for me, I’m really still routed in my upbringing so I still have those Nigerian values that I think will follow me for the rest of my life because it is who I am and it’s how I’ve been brought up. I don’t think I can really ever escape from it to be honest.

ray-blk

What was the experience like working with Stormzy
and are there any artist of African heritage that you
want to collaborate with in the future?

I really loved working with Stormzy because it was such an organic process. When I finished the song, before he was on it, I felt like it was incomplete and I really wanted to get him on it.

As soon as he did a verse on it, I felt like the song was finally ready to be put out. He’s just such a pleasure to work with and is just such an incredibly talented guy. To be honest, he’s one of the artists in the UK right now that really inspires me in terms of how he is as an individual and how he’s followed his own path without having any influence from major labels.

I look forward to doing more collaborations and learning from other people because I’m always looking forward to learning more. I don’t have anyone specific in my mind right now but I definitely would like to collaborate with more artists from the U.K., from Nigeria, from America, all over the place.

Your music often addresses black womanhood,
reminiscent of Lauryn Hill’s soulful and raw
approach. What is the most important message
you want to send through your songs?

It’s funny because people always say this and they ask me if that’s always been my goal, and if it’s a thought out process, but I sing and write songs about my experiences and about who I am. I am a black woman and so I feel like the stories that I tell speak to black women even more so.

For me, the message I’ve always wanted to put out for women in general and for black women who listen to my music is really just to love themselves and to stay strong. I think self-love is one of the most important things and once you learn how to love yourself then you know how you should be loved. I feel like that’s an important message, especially for young women these days.

What advice would you give to your younger self about
pursuing music?

I would tell my younger self not to be in a rush. I’ve only professionally been in the music business for about a year and a half. Behind the scenes I’ve been singing, writing and trying to get into the music industry for a lot longer.

I’ve been writing songs since I was seven but I’ve been trying to break into the music industry since I was about 13. I was making songs with my friends, doing small performances locally and auditions. I feel like from that age up until now, I was always in a rush to be out there and to finally be noticed so that I could actually start making music as a job. I’ve learned that everything happens at the right time.

Timing has been everything in my journey so far, so I would just tell myself to relax and focus on being a better artist and perfecting my craft.

Can we expect any new projects from you in the future?

I’m always in the studio making new songs so that I’m ready for my next project. I’m excited for when it will be done but I don’t know when that will be. However, there will certainly be something coming from me at some point this year. Stay tuned.

 

 

>via: http://www.okayafrica.com/interview/ray-blk-black-british-womanhood-calling-out-homophobia/

 

 

 

photo by Alex Lear

photo by Alex Lear

 

 

NINA SIMONE

 

Nina is song. Not just a vocalist or singer, but actual song. The physical vibration and the meaning too. A reflection and projection of a certain segment of our mesmerizing ethos. Culturally specific in attitude, in rhythm, in what she harmonizes with and what she clashes against, merges snugly into and hotly confronts in rage. All that she is. Especially the contradictions and contrarinesses. And why not. If Nina is song. Our song. She would have to be all that.

 

Nina is not her name. Nina is our name. Nina is how we call ourselves remade into an uprising. Eunice Waymon started out life as a precocious child prodigy — amazingly gifted at piano. She went to church, sang, prayed and absorbed all the sweat of the saints: the sisters dropping like flies and rising like angels all around her. Big bosoms clad in white. Tambourine-playing, cotton-chopping, tobacco-picking, corn-shucking, floor-mopping, child-birthing, man-loving hands. The spray of sweat and other body secretions falling on young Eunice’s face informing her music for decades to come with the fluid fire of quintessential Black musicking. But there was also the conservatory and the proper way to approach the high art of music. The curve of the hands above the keyboard. The ear to hear and mind to understand the modulations in and out of various keys. The notes contained in each chord. She aspired to be a concert pianist. But at root she was an obeah woman. With voice and drum she could hold court for days, dazzle multitudes, regale us with the splendor, enrapture us with the serpentine serendipity of her black magic womanistness articulated in improvised, conjured incantations. “My daughter said, mama, sometimes I don’t understand these people. I told her I don’t understand them either but I’m born of them, and I like it.” Nina picked up Moses’ writhing rod, swallowed it and now hisses back into us the stories of our souls on fire. Hear me now, on fire.

 

My first memory of Nina is twofold. One that music critics considered her ugly and openly said so. And two that she was on the Tonight show back in the late fifties/very early sixties singing “I Love You Porgy.” Both those memories go hand in hand. Both those memories speak volumes about what a Black woman could and could not do in the Eisenhower era. They called her ugly because she was Black. Literally. Dark skinned. In the late fifties, somewhat like it is now, only a tad more adamant, couldn’t no dark skinned woman be pretty. In commercial terms, the darker the uglier. Nina was dark. She sang “Porgy” darkly. Made you know that the love she sang about was the real sound of music, and that Julie Andrews didn’t have a clue. Was something so deep, so strong that I as a teenager intuitively realized that Nina’s sound was both way over my head and was also the water within which my soul was baptized. Which is probably why I liked it, and is certainly why my then just developing moth wings sent me shooting toward the brilliant flashes of diamond bright lightening which shot sparking cobalt blue and ferrous red out of the black well of her mouth. This was some elemental love. Some of the kind of stuff I would first read about in James Baldwin’s Another Country, a book that America is still not ready to understand. Love like that is what Nina’s sound is.

 

Her piano was always percussive. It hit you. Moved you. Socked it to you. She could hit one note and make you sit up straight. Do things to your anatomy. That was Nina. Made a lot of men wish their name was Porgy. That’s the way she sang that song. I wanted to grow up and be Porgy. Really. Wanted to grow up and get loved like Nina was loving Porgy. For a long time, I never knew nobody else sang that song. Who else could possibly invest that song with such a serious message, serious meaning? Porgy was Nina’s man. Nina’s song. She loved him. And he was well loved.

 

In my youth, I didn’t think she was ugly. Nor did I didn’t think she was beautiful. She just looked like a dark Black woman. With a bunch of make-up on in the early days. Later, I realized what she really looked like was an African mask. Something to shock you into a realization that no matter how hard you tried, you would never ever master white beauty because that is not what you were. Fundamental Blackness. Severe lines. Severe, you hear me. I mean, you hear Nina. Dogonic, chiseled features. Bold eyes. Ancient eyes. Done seen and survived slavery eyes. A countenance so serious that only hand carved mahogany or ebony could convey the features.

 

The hip-notism of her. The powerful peer. Percussive piano. Pounding pelvis. The slow, unhurried sureness. An orgasm that starts in the toes and ends up zillions of long seconds later emanating as a wide-mouthed silent scream uttered in some sonic range between a sigh and a whimper. A coming so deep, you don’t tremble, you quake. I feel Nina’s song and think of snakes. Damballa undulations. Congolesian contractions. She is an ancient religion renewed. The starkness of resistance. And nothing Eurocentric civilization can totally contain. Dark scream. Be both the scream and the dark. A crusty fist shot straight up in the air, upraised head. Maroon. Runaway. No more auction block. The one who did not blink when their foot was cut off to keep them from running away. And they just left anyway. Could stand before the overseer and not be there. Could answer drunken requests to sing this or that love song and create a seance so strong you sobered up and afterwards reeled backward, pawing the air cause you needed a drink. You could not confuse Nina Simone with some moon/june, puritan love song. Nina was the sound that sent slave masters slipping out of four posted beds and roaming through slave quartered nights. Yes, Nina was. And was too the sound that sent them staggering back with faces and backs scratched, teeth marked cheeks, kneed groins, and other signs of resistance momentarily tattooed on their pale bodies. And despite her fighting spirit, or perhaps because of her fighting spirit, the strength and ultra high standard of femininity she established with her every breath, these men who would be her master would not sell her. Might whip her a little, but not maim her. Well, nothing beyond cutting the foot so she would stay. With Nina it could get ugly if you came at her wrong, and something in her song said any White man approaching with intentions of possessing me is wrong. Nina sounded like that. Which is why this anti-fascist German team wrote “Pirate Jenny” and it was a long, long time before I realized that the song wasn’t even about Black people.

 

Nina Simone was/is something so potent, so fascinating. A fertile flame. A cobra stare. Once you heard her, you could not avoid her, avoid the implications of her sound, be ye Black, White or whatever. Her blackness embraced the humanity in all who heard her, who experienced being touched by her, whose eyes welled up with tears sometimes, feeling the panorama of sensations she routinely but not rotely evoked wherever, whenever she sat at the altar of her piano and proceeded to unfurl the spiritual history of her people. When Nina sang, sings, if you are alive, and hear her, really hear her, you become umbilicaled into the cosmic and primal soul of suffering and resurrection, despair and hope, slavery and freedom that all humans have, at one level or another, both individually and ethnically, experienced, even if only vicariously. After all, who knows better the range of reactions to the blade, than does the executioner who swings the axe?

 

Nina hit you in the head, in the heart, in the gut and in the groin. But she hit you with music, and thus her sonorous fusillades, even at their most furious, did you no harm. In fact, the resulting outpouring of passions was a healing. A lancing of sentimental sacs which held the poisons of oppressive tendencies, the biles of woe-filled self-pity. A draining from the body of those social toxicants which embitter one’s soul. A removal of the excrescent warts of prejudice and chauvinism that blight one’s civil make-up.

 

Sangoma Simone sang and her sound was salving and salubrious. Her concerts were healing circles. Her recordings medicinal potions. She gave so much. Partaking of her drained you of cloying mundanities. Poured loa-ed essentials into the life cup. You left her presence, filled to your capacity and aware of how much there was to achieve by being a communicative human being.

 

Nina Simone. Supper clubs could not hold her. Folk songs were not strong enough. Popular standards too inane. Even though she did them. Did them to death. Took plain soup, and when she finished adding her aural herbs, there you had gumbo. Nina hit her stride with the rebellious uprises of the sixties, and the fierce pride of the seventies. Became a Black queen, an African queen. Became beautiful. Remember, I am talking about a time when we really believed Black was beautiful. Not just ok, acceptable, nothing to be ashamed of, but beautiful. Proud. And out there. Not subdued. Not refined. Not well mannered. But out there. Way out. Like Four Women. Like Mississippi Goddamn. Like Young, Gifted And Black. Like Revolution. Like: “And I Mean Every Word Of It”. This was Nina who did an album with only herself. Voice. Piano. And some songs that commented on the human condition in terms bolder than had ever been recorded in popular music before. Are we The Desperate Ones? Have We Lost The Human Touch?

 

My other memories of Nina have to do with the aftermath. I recall the aridness of counterrevolutionary America clamping down and shuttering the leading lights of the seventies. Nina’s radiance was celestial, but oh my, how costly the burning. Seeking fuel she fled into exile. Who would be her well, where could she find a cool drink of water before she died?

 

Then, like indiscreet body odors, the rumors and gossip began floating back. The tempest. The turning in on the self. What happens when they catch you and bring you back. Reify and commodify you, relegate you back into slavery. You are forced to fight in little and sometimes strange ways. But the thrill is gone. Cause only freedom is thrilling, and ain’t no thrill in being contained on anybody’s plantation, chained to anybody’s farm. Anybody’s, be they man, woman or child. Nobody’s. Nothing thrilling about not being liberated.

 

Nina, like most of us, went crazy so that she could stay sane. Just did it hard. Was a more purer crazy. Cause she had so much to be sane about. So much that leeches wanted to siphon, sip, suck.

 

How do you stay sane in America? You go crazy. In order to be.

 

To be proud. And beautiful. And woman. And dark. Black skinned. You have to go crazy to stay sane. You have to scream, just to make room for your whispers. You have to cry and cuss, so that you can kiss and love. You have to fight. Fight. Fight. Lord. Fight. I gets. Fight. So tired. Fight. Of. Fight. Fighting all the time. But ooohhh child things are gonna get easier.

 

Don’t tell me about her deficiencies, or her screwed up business affairs, her temper tantrums, her lack of understanding, her bad luck with men, her walking off the stage on the audience. Don’t tell me about nothing. None of that. Because all of that ain’t Nina. Nina Simone is song. And all of that is just whatever she got to do. Like she said: Do What You Got To Do. Oh Lord, Please Don’t Let Me Be Misunderstood.

 

I play Nina Simone. Yesterday. Today. Tomorrow. This morning. Tonight at noon. Under the hot sun of Amerikkka, merrily, merrily, merrily denigrating us. In those terrible midnights. I play Nina Simone. Just to stay sane. Stay Black. To remember that Black is beautiful, not pretty. Beautiful is more than pretty. Beautiful is deep. I play beautiful Nina Simone. Nina Song. I play Nina Simone. And whether Nina’s song turns you off or Nina’s song turns you on, whose problem, whose opportunity is that?

 

No. Let me correct the English. I don’t play Nina Simone. I serious Nina Simone. Serious. Simone. Put on her recordings and Nzinga strut all night long. And even that is not long enough.

 

To be young, or ancient. Gifted, or ordinary. But definitely Black, definitely the terrible beauty of Blackness. Nina Simone. Nina Song. Nina. Nina. Nina.

 

Oh my god. I give thanx for Nina Simone.

 

—kalamu ya salaam

 

March 2017

March 2017

 

 

 

The Slave

Who Outwitted

George Washington

Ona Judge slipped out
of the president’s house
one night and didn’t come back.
But unlike most runaway slaves,
she was never caught.

 

By Erica Armstrong Dunbar

 

MOUNT VERNON

Two years after the death of her owner, Betty learned her mistress was to remarry. She most likely received the news of her mistress’s impending second marriage with great wariness as word spread that Martha Custis’s intended was Colonel George Washington. The colonel was a fairly prominent landowner with a respectable career as a military officer and an elected member of the Virginia House of Burgesses. His marriage to the widowed Martha Custis would offer him instant wealth and the stability of a wife and family that had eluded him.

A huge yet necessary transition awaited Martha Custis as she prepared to marry and move to the Mount Vernon estate, nearly one hundred miles away. For Betty, as well as the hundreds of other slaves that belonged to the Custis estate, the death of their previous owner and Martha’s marriage to George Washington was a reminder of their vulnerability. It was often after the death of an owner that slaves were sold to remedy the debts held by an estate.

For enslaved women, the moral character of the new owner was also a serious concern. When George and Martha Washington married in January of 1759, Betty was approximately twenty-one years old and considered to be in the prime of her reproductive years. She was unfamiliar with her new master’s preferences, or more importantly, if he would choose to exercise his complete control over her body. All of the enslaved women who would leave for Mount Vernon most likely worried about their new master’s protocol regarding sexual relations with his slaves. But of greater consequence for Betty was the future for her young son, Austin. Born sometime around 1757, Austin was a baby or young toddler when his mistress took George Washington’s hand in marriage. To lose him before she even got to know him, to have joined the thousands who stood by powerlessly while their children were “bartered for gold,” as the poet Frances Ellen Watkins Harper wrote, would have been devastating

As she prepared to move to Mount Vernon, Martha Washington selected a number of slaves to accompany her on the journey to Fairfax County, Virginia. Betty and Austin were, to Betty’s relief, among them. The highest-valued mother-and-child pair in a group that counted 155 slaves, they arrived in April of 1759. Betty managed to do what many slave mothers couldn’t: keep her son. Austin’s very young age would have prohibited the Custis estate from fetching a high price if he were sold independently from his mother. Perhaps this fact, in addition to Betty’s prized position in the Custis household, ensured that she would stay connected to her child as she moved away from the place she had called home. As Martha Washington settled into her new life with her second husband at Mount Vernon, a sprawling estate consisting of five separate farms, Betty also adapted, continuing her spinning, weaving, tending to her son, and making new family and friends at the plantation. The intricacies of Betty’s romantic life at Mount Vernon remain unclear, but what we do know is that more than a decade after giving birth to Austin, Betty welcomed more children into the world. Her son, Tom, was born around 1769, and his sister Betty arrived in 1771.

Sometime around or after the June snow of 1773, Betty gave birth to a daughter named Ona Maria Judge. This girl child would come to represent the complexity of slavery, the limits of black freedom, and the revolutionary sentiments held by many Americans. She would be called Oney.

Bushy haired, with light skin and freckles, a young Ona probably spent some of her days playing with her siblings and other enslaved children in the Quarters. More often than not, though, she had to learn how to fend for herself. Judge and the other children at Mount Vernon cried out in loneliness for their parents, witnessed the brutality of whippings and corporal punishment, and fell victim to early death due to accidental fires and drowning. Childhood for enslaved girls and boys was fleeting and fraught with calamity. Many perished before reaching young adulthood. Judge’s childhood wasn’t shortened by a plantation fatality. Instead, hers ended at age ten, when she was called to serve Martha Washington up at the Mansion House.

NEW YORK

On April 30, 1789, George Washington took the oath of office and issued an inaugural address from the balcony of New York’s federal hall. Notably absent from the ceremony was his wife. While the first lady had traveled to see her husband during the American Revolution as he led the colonists in battle against the British, she wanted nothing more than to stay put and resented her husband’s call to public service that was taking them away from their Virginia home.

The slaves at Mount Vernon knew all too well about the displeasure of their mistress and had to add that to their list of concerns. Ona Judge, in particular, one of the favored house slaves, responsible for tending to her mistress’s needs, both emotional and physical, had to balance the first lady’s deep sadness, resentment, and frustration with her own fears about the move.

The young Ona Judge was far from an experienced traveler. The teenager knew only Mount Vernon and its surroundings and had never traveled far from her family and loved ones. For Judge the move must have been similar to the dreaded auction block. Although she was not to be sold to a different owner, she was forced to leave her family for an unfamiliar destination hundreds of miles away. Judge would have had no choice but to stifle the terror she felt and go on about the work of preparing to move. Folding linens, packing Martha Washington’s dresses and personal accessories, and helping with the grandchildren were the tasks at hand, and it wasn’t her place to complain or question. Judge had to remain strong and steady, if not for herself, then for her mistress who appeared to be falling apart at the seams. Like Judge, Martha Washington had no choice about the move to New York. Her life was at the direction of her husband, who was now the most powerful man in the country. Mrs. Washington and Ona Judge may have shared similar concerns, but of course only Martha Washington was allowed to express discontent and sorrow: Martha Washington was unhappy, and everyone knew it, including her frightened slave.

It is impossible to know how familiar the slaves at Mount Vernon were with the specifics of the changing laws of the North, of one state’s mandate versus another’s, but what is certain is that Judge had witnessed the act of running away. The slaves at Mount Vernon who successfully escaped reminded the bond people who remained that there were alternatives to the dehumanizing experience of slavery. Freedom, of course, was risky, and was never considered without great caution and planning, but perhaps a trip to New York would yield opportunities never imagined by the slaves who lived at Mount Vernon? Maybe life would be better in New York and perhaps they could find their way to freedom? As the slaves pondered what the move to New York might mean for them, they did so subtly. A slave could not appear to be too calculating or strategic, and no one wanted to spook the Washingtons, especially the very fragile Martha Washington.

Martha Dandridge Custis, a widow with two children, married George Washington on January 26, 1759, when she was 27 and he was 26. Martha’s dowry included more than 80 slaves. (NYPL Digital Collections)

Martha Dandridge Custis, a widow with two children, married George Washington on January 26, 1759, when she was 27 and he was 26. Martha’s dowry included more than 80 slaves. (NYPL Digital Collections)

The president and his wife were well aware that the practice of slavery was under attack in most of the Northern states. They also knew that though New York’s residents still clung to bound labor, public sentiment regarding African slavery was changing. Unwilling to even think about abandoning the use of black slaves, the president and the first lady were careful in their selection of men and women who traveled with them from Mount Vernon. Their selections involved only those slaves who were seen as “loyal” and therefore less likely to attempt escape. Skills in the art of house service were also a necessity.

The only bondwomen who were set to travel to New York were Ona Judge and Moll, a fifty-year-old seamstress. Judge and Moll would serve the first lady as housemaids and personal attendants. Judge would draw her mistress’s bath, prepare her bed clothing, brush her hair, tend to her when she was ill, and travel with her throughout the city on social calls. Moll would be responsible for the grandchildren who lived with the Washingtons. Moll would wipe noses, calm anxious souls awakened by nightmares, and make certain that the Washingtons’ grandchildren were well fed and dressed. Ona would help Moll in whatever way she could above and beyond fulfilling Martha Washington’s needs. The two women worked all day and every day under the careful watch of their mistress. The life of an enslaved domestic carried grueling and constant demands. Private time, time away from their mistress and master, was all but fleeting.

For decades, New Yorkers grappled with the issue of black emancipation. The Revolutionary War found men in the coffee shops of Philadelphia, Boston, and New York discussing the topics of freedom and citizenship, prompting some New Yorkers to rethink their commitment to slavery. But the drive to maintain human bondage was a slow-burning fire that stayed lit well into the nineteenth century. So, Washington’s decision to bring seven slaves from Mount Vernon to his new home on Cherry Street in 1789 was not considered unseemly or unusual. As was the case for many other elite whites, Washington’s use of slave labor was acceptable. Governor George Clinton owned eight slaves, and New York resident Aaron Burr owned five of his own. Yet these men were also involved in the New York Manumission Society, as were John Jay and Alexander Hamilton. Although the society engaged in conversation about gradually ending slavery, most of New York’s leaders remained uncommitted to this goal. Slave ownership was still a sign of upper-class status, so slavery in New York lived on.

It would have only taken a short time for Judge to figure out that the majority of whites who owned slaves didn’t own a great number of them. Unlike an estate such as Mount Vernon, which counted its bondmen and bondwomen in the hundreds, most slaveholders in New York City held one or two slaves. The majority of those who claimed human property were artisans, living above their small stores and rented shops, placing their human property in the attics and cellars of their already cramped homes. New York slave owners simply couldn’t own more than a couple of slaves, for there was nowhere to lodge them, unlike the slave quarters and cabins at Mount Vernon, which allowed slaves to sleep, eat, laugh, and love each other outside the walls of a master’s house.

What may have been even more surprising to Judge as she settled into residency in New York was that the majority of the blacks with whom she became acquainted were women. Although artisans and other slaveholders who invested in slave labor preferred male slaves, black women (both slave and free) were a significant presence in the city. Northern slavery was different from what the young Virginian knew. In cities of the North and Mid-Atlantic, slavery was an institution that depended upon black women not for their ability to reproduce but for their agility with the most arduous kinds of domestic work. Meal preparation, cleaning, and sewing were extremely taxing in the eighteenth century, and without the luxuries of running water or electricity, much of the work required lifting heavy buckets of water and cooking in unbearably hot kitchens or freezing sheds. For most black women who toiled as domestic slaves or servants, their bodies were broken, and their time was never their own.

PHILADELPHIA

Martha Washington, who had been so reluctant to join her husband in New York, now found herself saddened that as a result of a political compromise, brokered by Alexander Hamilton and Thomas Jefferson, the capital was moving to Philadelphia.

It was Alexander Hamilton and Thomas Jefferson who brokered the famed compromise between Southern and Northern coalitions in which the federal government assumed all state debt related to the American Revolution in exchange for landing a permanent nation’s capital along the Potomac River. The construction of the capital would take close to a decade, and Philadelphia’s consolation prize was the temporary relocation of the capital for a period of ten years starting in 1790.

One day, Attorney General Edmond Randolph appeared at the Executive Mansion, wanting to speak with the president regarding a pressing concern. Mrs. Washington typically had Ona Judge by her side, but she would have dismissed her slave before such a sensitive conversation took place. Angry and frustrated, the attorney general confided in the first lady, telling her about a problem that plagued slaveholders who resided in Philadelphia. Three of his slaves had run off, and the attorney general knew that he would not be able to get them back. Randolph reminded the first lady that Pennsylvania law required the emancipation of all adult slaves who were brought into the commonwealth for more than a period of six months. The attorney general either took for granted that his slaves would never learn of the law or believed that they were unfathomably faithful and would decide to remain enslaved to their master, even when the law did not require it.

Randolph offered his own experience as a cautionary tale, suggesting that the president’s family be careful about their own slaves, fearing that “those who were of age in this family might follow the example, after a residence of six months should put it in their power.” This warning gave Martha Washington reason to pause. The first lady understood the seriousness of the house call as well as the need for discreet and swift action. She listened to Randolph intently, thanked him for his visit, and quickly began discussions about the best plan of action. Her husband had to be notified immediately, and the slaves who lived on High Street needed to be kept from such inflammatory news. But the President’s House was not spacious, and voices carried through the hallways. Very little remained private in a space that was typically filled by twenty or more people. Just as Randolph’s slaves came to understand and utilize the gradual abolition law, so, too, might the Washingtons’ slaves. It would be painfully embarrassing and financially damaging if the president’s own slaves turned the laws of the state against him.

So the Washingtons devised a plan: the couple would shuffle their slaves to and from Mount Vernon every six months, avoiding the stopwatch of Pennsylvania black freedom. If an excursion to Virginia proved a hardship for the family, a quick trip to a neighboring state such as New Jersey would serve the same purpose. The hourglass of slavery would be turned over every six months, and the president knew there was no time to waste.

If Ona Judge and her enslaved companions uncovered the truth about their slave status in Philadelphia, they would possess knowledge that could set them free. Power would shift from the president to his human property, making them less likely to serve their master faithfully, and eventually, they might run away. Washington wrote that if his slaves knew that they had a right to freedom, it would “make them insolent in the State of Slavery.”

Judge spent the next five and a half years in Philadelphia, rotating every six months back to Mount Vernon or out of state, serving her masters while she watched the rest of the city’s enslaved population break free from the bonds of slavery. Her interactions with paid servants, contracted hired help, and with her own enslaved housemates informed her thoughts about her life and the possibilities of freedom. After the information breech regarding the Washingtons’ slave rotation, it would have been virtually impossible to keep Judge in the dark about the laws of the state.

Ona Judge was not the only person in Philadelphia who wondered about the future. While emancipation touched the lives of many black men and women who lived in the commonwealth of Pennsylvania, it was a process that was slow and cumbersome. Pennsylvania may have been revolutionary in its move to gradually end African slavery, but for black Philadelphians, especially those who were enslaved, change didn’t come fast enough. Some refused to wait for freedom, choosing to live the vulnerable life of a fugitive. During the 1780s, more than 160 slaves took their chances and headed north from the city, looking for freedom and anonymity. Most runaways were young black men, but the few women who attempted escape in Philadelphia often did so to join free husbands scattered about New England, often with their children in tow.

***

The enslaved who lived at the Executive Mansion measured their triumphs in the smallest of ways. Victories were days marked by the first lady’s good mood and defeat was palpable when the president was angered. For Ona Judge and the other slaves who served the Washingtons, the future was never predictable, and the smallest of matters, such as an accidental overcooking of a meal or antagonistic political news, could change the mood of their owners with the snap of a finger.

By his peers, the president was not considered a violent slave owner, but all of the slaves who worked for him in Philadelphia and at Mount Vernon knew that on occasion, he did lose his temper. And in February 1796, a letter arrived that prompted everyone, slave and servant, black and white, to tread lightly around George and Martha Washington.

None of the slaves at the President’s House knew what the future held. For Ona Judge, however, the uncertainty vanished with a startling piece of news. The marriage of Martha Washington’s granddaughter Eliza Custis was to cut her post in Philadelphia short.

Martha Washington knew that her granddaughter was completely unprepared for her new marriage to Thomas Law, British businessmen with the East India Company twenty years her senior who had two mixed-race children. She understood that the teenage Eliza knew nothing about the duties that accompanied a new marriage, let alone about setting up a new household in the Federal City. In an effort to help Eliza ease into her new matrimony, Martha Washington stepped in, and offered her granddaughter the support she needed: she would bequeath Judge to Eliza as a wedding gift. If Judge ever believed that her close and intimate responsibilities for her owner yielded preferential treatment, she now understood better. The bondwoman now knew for certain that in the  eyes of her owner, she was replaceable, just like any of the hundreds of slaves who toiled for the Washingtons.

The pangs of anxiety she felt were based not only on having to leave Philadelphia but also on having to work for and with Eliza Custis Law, a young woman with a stormy reputation. All who were acquainted with the president’s granddaughter commented upon her stubbornness and complete disregard for protocol. Eliza was unlike many elite eighteenth-century women in that she was assertive and refused to shrink from male authority. Family members joked that in “her tastes and pastimes, she is more man than woman and regrets that she can’t wear pants.” Eliza did what she wanted to do, often appearing irritated and labile. On occasion, she refused to go to church and other obligatory social functions, and her quick engagement to Thomas Law was a reminder to everyone that Eliza would be the architect of her own life.

Portrait of Elizabeth Parke Custis Law by Gilbert Stuart, c. 1796. Martha Washington’s granddaughter Elizabeth married Thomas Law when she was 19 and he was 39. They separated in 1804 and divorced in 1811.

Portrait of Elizabeth Parke Custis Law by Gilbert Stuart, c. 1796. Martha Washington’s granddaughter Elizabeth married Thomas Law when she was 19 and he was 39. They separated in 1804 and divorced in 1811.

Ona Judge would have also worried about the newest member of the Washington family, a man with a shadowy reputation. Thomas Law grew his fortune in India before arriving in the District of Columbia. The land speculator purchased close to five hundred lots around the new city, expecting to line his pockets with cash once the nation’s capital moved South. While his quick engagement to the president’s granddaughter painted him as an opportunist, Judge would have worried more about his principles and behavior, especially given his sketchy familial past. The new member of the family had arrived in America with two of his three sons, both illegitimate and both the children of an Indian woman. While there were many biracial children at Mount Vernon (Judge herself was one of them), Law’s children spoke to every slave woman’s fear: Thomas Law slept with nonwhite women, and wasn’t concerned about the gossip.

For a young woman such as Judge, the dangers of the unfamiliar— Eliza’s temper and Law’s sexual profile—served as an urgent incentive to run away.

ESCAPE

Judge had heard the stories of just how difficult it was to run away from an owner. One of the first obstacles for fugitive slaves to confront was the issue of Northern climates. The weather in cities such as Philadelphia up to the small towns of New England fluctuated constantly, and brutal Northeastern winters prompted slaves to consider spring or summer escapes. Two to three months out of every year, the Delaware River froze over, eliminating the sea as an escape route. The small rivers and creeks across the North were also impassable, often sending brave and desperate fugitives to premature, icy deaths. Roads, impassable from heavy snow and frozen mud, disabled even the strongest and most agile fugitives, trapping men and women on the run. Many lost their lives to hypothermia as they hid in the caves, barns, and alleyways of the North, with little to no food, or a proper winter coat or shoes.

Beyond the weather and difficult conditions, Judge likely contemplated just how few women made successful attempts at escape. Unlike Judge, the majority of fugitives—90 percent—from Pennsylvania down to Virginia, were male. The same held true for South Carolina and parts of the Upper South. There were many reasons for the extremely low number of female escapees, but historians have focused on the relationships between mothers and children as the main deterrent for female slaves.

Childless, Judge would not have to confront the horror of leaving one’s children behind for the opportunity of freedom. Of course, if she made the decision to escape, she would cut ties from her family back at Mount Vernon, a terrible choice to consider, but one that was altogether different from leaving behind a baby.

She had examined the facts—the mercurial Eliza, the biases against blacks, the treatment of blacks in the aftermath of the yellow fever epidemic, the danger of the Fugitive Slave Law—and Judge realized that if she ran away, she couldn’t plan her escape alone. So she took the biggest of gambles and confided in a group of crucial associates: free black allies.

Judge knew what the future held should she not heed the advice of her free black associates. “She supposed if she went back to Virginia, she should never have a chance to escape.” Once she learned that “upon the decease of her master and mistress, she would become the property of a grand-daughter of theirs by the name of Custis,” she knew that she had to flee. She imagined that her work for the Laws would begin immediately, not after the death of her owners, prompting a fierce clarity about her future and her dislike for Eliza Custis. “She was determined never to be her slave.” Her decision was made. She would risk everything to avoid the clutches of the new Mrs. Law.

Judge was well-informed, and knew that her decision to flee was far more than risky. But still, she was willing to face dog-sniffing kidnappers and bounty hunters for the rest of her life. Yes, her fear was consuming but so, too, was her anger. Judge could no longer stomach her enslavement, and it was the change in her ownership that pulled the trigger on Judge’s fury. She had given everything to the Washingtons. For twelve years she had served her mistress faithfully, and now she was to be discarded like the scraps of material that she cut from Martha Washington’s dresses. Any false illusions she had clung to had evaporated, and Judge knew that no matter how obedient or loyal she may have appeared to her owners, she would never be considered fully human. Her fidelity meant nothing to the Washingtons; she was their property, to be sold, mortgaged, or traded with whomever they wished.

The waiting was difficult. For nearly two weeks, Judge had to calm her nerves and suppress her anger, as allies completed the planning for her escape. She could not raise suspicions, so Judge worked in tandem with the rest of the household, as they made the necessary preparations for a lengthy trip back to Mount Vernon. Judge later stated, Whilst they were packing up to go to Virginia, I was packing to go, I didn’t know where; for I knew that if I went back to Virginia, I never should get my liberty

Not only did Ona Judge have to pack her things to leave, she also had to determine when she would escape. Although the Executive Mansion possessed more slaves and servants than did most Northern residences, Judge was the first lady’s preferred house slave and had to be available at all times for whatever reason.

There was only one duty from which she was exempt: meal preparation. The president often entertained dinner guests, extending the festivities into the evening and inviting guests to retire to the parlor to enjoy a bit of wine and additional conversation. This would be the only moment that Judge could use to her advantage.

And when the moment arrived, she gathered her steely nerves and fled. On Saturday, May 21, 1796, Ona Judge slipped out of the Executive Mansion while the Washingtons ate their supper. She disappeared into the free black community of Philadelphia.

***

No one knows exactly when Martha Washington realized that her prized slave was missing. Perhaps dinner ran well into the evening, and Judge’s absence went unnoticed until late that night. Or maybe the president and his wife uncovered her escape just minutes after Judge left the Executive Mansion. The details may never be uncovered. But once the Washingtons realized that Judge was gone, they quickly understood that it was highly unlikely that she possessed any intention of returning. Washington was accustomed to slaves running away from Mount Vernon. On occasion, they would return after several days or weeks, but unlike past attempts made by fugitives, Judge’s starting point was in the North. And the Washingtons knew time wasn’t on their side.

On May 23, 1796, just two days later, Frederick Kitt, the steward for the Executive Mansion, placed an ad in the Philadelphia Gazette acknowledging the disappearance of Ona Judge. He placed another ad in Claypoole’s American Daily Advertiser the next day with additional details about the escape. The language of the runaway ad was similar to others that appeared in eighteenth- century newspapers, describing Ona Judge while simultaneously announcing that she had defied the president: Absconded from the household of the President of the United States on Saturday afternoon, ONEY JUDGE, a light Mulatto girl, much freckled, with very black eyes, and bushy black hair— She is of middle stature, but slender, and delicately made, about 20 years of age. Judge’s runaway ad went on to describe the possessions that she had packed up. The ad noted that Judge had “many changes of very good clothes of all sorts, but they are not sufficiently recollected to describe.”

Judge would have been warned against spending any time in New York, the place she once called home and where she was recognizable. Free blacks in Philadelphia would have urged her to flee with the most urgent speed and to make no stops along the way to her final destination. Harboring a fugitive was punishable by a fine and/or imprisonment, and to assist the president’s slave in her escape would have been even more dangerous. Those who aided Judge pushed for an expeditious departure, knowing the president was prepared to use all of his immense power to recapture his property. Judge needed to leave Philadelphia as fast as possible and looked to the wharves of the Delaware River to make her escape.

In fact, Judge escaped the city by boat. In her 1845 interview, Judge told of her journey to Portsmouth, New Hampshire, on a vessel that was commanded by Captain John Bowles. Judge remained secretive about her escape almost her whole life, only announcing the name of the captain more than a decade after his death, in July of 1837: “I never told his name till after he died, a few years since, lest they should punish him for bringing me away.” Ona Judge knew that she owed her life to Bowles.

Ona Judge had never before sailed on such a ship, a single-masted sloop that could carry up to seventy-five people (depending on the size of the cargo). These vessels were designed to haul freight from one coastal town to the next, but ship captains like Bowles earned extra money by allowing passengers to ride along. Any seafaring voyages that Judge might have taken with the Washingtons would have been close to enjoyable. Short river crossings in relatively luxurious vessels were what Judge had come to know, but she had turned her back on all of it. Now on board the Nancy, space was minimal and travelers lodged themselves wherever there was room. Once again, the fugitive found herself sleeping in tight quarters, but this time it was with strangers—some were traveling home to visit with family and friends and others who, like Judge, were leaving behind a difficult past for the possibilities of a new future in Portsmouth.

For five days, Judge contained her fear. She could not appear too nervous, as passengers were already throwing quick and curious glances toward the light-skinned black woman who traveled alone. She knew that the Washingtons were looking for her and that by now her name and a bounty probably appeared in many of the Philadelphia newspapers. She wondered how much of a reward was attached to her recapture, a thought that sent her eyes to scan the strangers on board. Surely none of Washington’s agents had made it to Bowles’s ship before it left Dock Street, but she wouldn’t know this for certain until the Nancy reached New Hampshire. The beautiful and expensive clothing that she wore to serve the Washingtons was packed away, and instead, Judge would have dressed in inconspicuous clothing, allowing her to hide in plain sight. She was a hunted woman and would try to pass, not for white, but as a free black Northern woman.

***

From Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge by Erica Armstrong Dunbar. © 2017 by Erica Armstrong Dunbar. Reprinted by permission of 37 Ink/Atria Books, a Division of Simon & Schuster, Inc.

 

>via: https://longreads.com/2017/03/06/the-slave-who-outwitted-george-washington/

 

 

April 13, 2017

April 13, 2017

 

 

Illustration by Joe Gough

Illustration by Joe Gough

RACE IS

THE ORIGINAL

AMERICAN FICTION

ON REUNITING WITH
THE DESCENDANTS OF
THOMAS JEFFERSON’S SLAVES

 

By Andrew Mitchell Davenport

 

 

“And who, by the way, was the mother
of our country?”

–Ralph Ellison

 

I.

Our nation’s historical origins began in the revolutionary age of the 1770s, when Thomas Jefferson and the Founding Fathers set forth their protestations against the British crown. In the past 20 or so years, many Americans have taken it as fact that Jefferson established a long-term relationship with Sally Hemings, an enslaved woman, mother to at least six of his children, and his widow’s half-sister. “The Jefferson-Hemings affair,” writes Clarence Walker, given Jefferson’s place in the pantheon of the Founding Fathers, raises questions about the national identity or racial provenance of the United States . . . At the moment of its creation the nation was not a white racial space but a mixed-race one, in which Jefferson and Hemings, as a mixed-race couple, rather than George and Martha Washington, should be considered the founding parents of the North American republic.

Race, we are accustomed to thinking, is a fiction—a “construction”—a myth older than Don Quixote. Literacy was not as commonplace when Jefferson and Hemings began their relationship, and Americans have never quite gotten over this textual and cultural illiteracy, a willful blindness, when it comes to matters of citizenship and recognition. Like any fiction worth its weight, race must be read and reread, interpreted, and examined.

With her 1852 novel Uncle Tom’s Cabin, Harriett Beecher Stowe, “gave black characters a dignity and self-consciousness that paved the way for other writers, including African-American writers, to explore the question of race in America,” as literary historian Philip Gura writes. As fate would have it, in May of the following year Stowe met a man who was soon to become the first black American novelist.

William Wells Brown was already an inspiring and accomplished man when he met Stowe in London. He’d been born into slavery in Kentucky, the son of a white father and a slave mother, and he’d traveled widely for an individual of the 19th century, free or enslaved. Brown escaped slavery, after losing his mother and his sister to slave auctions, and began a career as an author and anti-slavery lecturer.

 

 

“Like any fiction worth its weight, race must be read
and reread, interpreted, and examined.”

 

Brown’s 1853 novel, Clotel, has for its plot the Jefferson-Hemings liaison that Walker refers to, a relationship that has fired the imaginations of Americans for more than two centuries, ever since James Callender published a scathing exposé of Thomas Jefferson in the Richmond Recorder. Callender had previously outed Alexander Hamilton’s extramarital affair with Mrs. Maria Reynolds, but when Jefferson refused to acquiesce to Callender’s threats of blackmail, he went public with the not-quite-news that Jefferson kept an enslaved woman as his “concubine” on his Monticello plantation.

Though Brown was the first American novelist to address the Jefferson-Hemings relationship, Charles Dickens had actually included a reference in his 1844 novel Martin Chuzzlewit. Dickens wrote of Jefferson, that “noble patriot . . . who dreamed of Freedom in a slave’s embrace.” It is an unattributed quote from the Irish poet Thomas Moore, who’d read Callender’s article in the Recorder.

“What better plot,” historian Jill Lepore writes, “than the shocking story that had animated the pen of Dickens himself?” Brown, according to his biographer Ezra Greenspan, was, like many Americans, long acquainted with the story of Sally and Tom. He’d published Clotel well before he met a Hemings family member, Virginia Isaacs, in Boston in the 1860s. A great-granddaughter of Elizabeth Hemings, mother to Jefferson’s Sally, Virginia Isaacs is a distant relative of mine; Sally Hemings’ brother Peter is my ancestor.

 

II.

Visiting Monticello in 1796, the duc de La Rochefoucauld-Liancourt claimed to have seen “slaves, who neither in point of color nor features showed the least trace of their original descent.”

In the summer of 2016, I stood in the back of a line comprised of descendants of Jefferson’s slaves waiting to enter the air conditioned pavilion in Monticello’s visitor center. A family directly before me looked white at first glance. But they are descendants of Sally and Tom, even prouder of their Hemings blood than they are of their Jefferson lineage. We were gathered to eat. It’d be our last meal before a family sleepover that night in Monticello’s slave cabins.

Inside, a buffet table was laid out before us, filled to overflowing with soul food. Iced tea with mint leaves to wash down the fried chicken. Biscuits barely made it into our mouths before melting. The room brimmed with joy. Some nuclear families sat together but I took a seat at a table with Jefferson, Hemings and Gillette descendants. I met Sakeena. She was wearing a purple African print dress, a headscarf beneath her Fulani straw hat. We fell into talking. I was introduced to April, Joan and Stephen, and Sakeena’s brother Gregory. Sakeena and Gregory’s forefathers and mine were given to Jefferson’s estate, after his father-in-law’s death, in 1774.

A presentation began. Any descendants of those pictured were to stand and introduce themselves. A photo of Moses Gillete was shown. April, Joan, Stephen, Sakeena and Gregory rose from their seats. More photos of the enslaved were projected. Cousin Calvin kept standing up. He stood when Jefferson’s personal servant Jupiter’s name was mentioned. He sat down only to stand again when Wormley Hughes’ name was called out. Calvin had on a red Washington Nationals ball cap with matching tank top and his teenage granddaughter Jade with him. She wore her thick hair in pigtails. I thought Jade really must love her grandfather to spend a night in the slave cabins with a bunch of distant relatives—strangers, really. Many of us were strangers to her and each other.

By the time we made it up to the mountaintop, the sun was just setting beyond the hills below. What land! I was transfixed by the view. Monticello is a kind of sylvan grove, and there is a view clear across the creasing hills all the way to the Blue Ridge Mountains. A brilliant dusk radiated from behind a cloud like the spokes of a wagon wheel. I’d never seen a sunset like that one. No one at Monticello had either, and they moved to gather us for photographs with that special sky for a background.

Afterwards, we gathered on Mulberry Row, a tree-lined walk where some of our slave ancestors lived and worked, for a bonfire. We talked quietly in twos and threes before coming together to talk as a family. A debate began with an old question. Calvin asked if any of us thought Sally Hemings could have loved Jefferson. I think they heard Gregory’s cries of dissent way down in Charlottesville. “Hell no!” he said. “Nothing about a teenage girl and her 40-something master calls out ‘love’ to these ears! Ain’t no love there!”

“She didn’t have a choice! She was his slave!” Sakeena said.

Calvin was pressing the issue. “I know about both those things but she was exercising some degree of power over him, and how about this—each one of her sisters had children by white men. What you make of that?”

Sakeena nearly leapt off her log. Gregory held her back but she couldn’t be quieted. “What I make of that?” Sakeena hollered. “What I make of that! They were raped. They were raped by the white man. They were preyed upon. What you make of that?”

Calvin was slyly smiling beneath his mustache. “I’m only asking the questions we all been hearing for, oh, two-hundred years now. Don’t got to get all worked up like that, cousin.”

“You don’t know what you trying to do!”

“Listen. Think about this. You got to think about how much power Sally’s mother had over TJ. She’d raised his wife, who loved her deeply, and she’d raised Sally. And TJ loved both of those women—those half-sisters. To think that Elizabeth Hemings wasn’t exercising some kind of control over TJ is ludicrous. She was playing him like a fiddle.”

“She was a slave, Calvin.”

“I don’t care what she was, she got whatever she wanted for her children. And she got whatever she wanted for herself, too. I think of her as the matriarch of this entire plantation.”

“Her daughters were raped by white men.”

“They coulda had relationships with these men! TJ and Sally were in a decades-long relationship. Something like 35, 40 years! When we talking about these ‘slave women’ we talking about some of the most powerful people—white or black—for miles around. You telling me Elizabeth Hemings, mother of Sally and nanny to Martha, who went way back with the family, didn’t have TJ by the wig I think you smoking something outta the garden down there.”

“Calvin, you saying the Hemings women had white lovers because their mother mighta arranged all that. What you forgetting—somehow! who knows how you forgetting this—was that they were slaves. And that they didn’t have a choice. By all accounts they were beautiful women, too, and that just made them more easily preyed upon.”

“I’m just raising questions. That’s all I’m doing. What I’m wondering is if Elizabeth Hemings was making sure her daughters got with the white man. ‘Cause look at how her grandchildren turned out! They got their freedom through the white man. They were freed, the ones that was the progeny of the white man. And Elizabeth knew full well the benefits of being white cause she was half white herself. If she had a little control over TJ and his kin or his visitors or what have you, I’m willing to bet she was angling toward having her grandchildren be freed that way. That is, after all, how Sally got TJ to promise to free her kids.”

Sakeena addressed the group, slipping her comments in before either Calvin or her brother could say anything further. “Next time you getting slave families together,” she said, “bring a therapist. We got to have some real counseling here. Our heads all screwed up and these Hemings bothering me!” We were all laughing. “Really! These Hemings bothering me. All anybody wondering about anytime I bring up that we come from Monticello is the Hemings. It’s Hemings this or Hemings that. I’m proud not to be a Hemings. I’m a Gillette. And we came like pendants with Elizabeth Hemings from John Wayles’ Guinea plantation to Monticello. And nobody ever talk about the Gillettes. We probably on the same damn ship over here! And nobody talking about us. Hemingses take up all the air in the room. See these tourists traipsing all around here earlier. Only thing they asking about is Sally. Or ‘the talented Hemings.’ What about everyone else!”

There was much more good cheer than not. But the debates were going to continue all night. Might even continue for another generation or two. I walked to find a place of solitude when I heard the cousins, those who remained by the fire pit, asking one another about escaped slaves. Who’d left? Was he caught? Heard from again?

The moon rose higher, the night sky awash with stars. I looked out toward the horizon. Down in the blue-night valleys I imagined the ruby glow of long ago campfires. Sakeena joined me. She looked mildly distressed and gestured toward the security guards who were going around turning off the lampposts. “I’m down walking by my cabin to get something and I see these uniformed men in the dark and I thought it was the KKK coming for me! Why they leaving us out here in the dark? Can’t they leave us with some light? They said they’d be taking care of us. Well, I want light to see with! We’re being left out here. But look at those stars!”

 

“I heard the cousins asking one another
about escaped slaves. Who’d left? Was he caught?
Heard from again?”

 

Sakeena had a flair for the dramatic. She’d traveled via Greyhound from New York. Sakeena converted to Islam “a hundred years ago,” as she put it, and sometime in the intervening century she’d traveled to Mecca for hajj. We looked out into the night. “This,” she said, “this is a pilgrimage all its own. I truly feel that way. I’m coming back to honor my dead.”

“You ever feel anything for, you know . . . Africa?” I asked. I’d been prompted by one of the cousins, who said that an aunt of hers said that she had heard from an aunt of hers, that the Monticello slaves had rubbed oil on their noses. This was supposedly proof that we were descended from some specific African tribe.

“Well, we from there somewheres but our lives began right here,” Sakeena said. “Doesn’t stop me from wearing these African dresses, though. And each year I go up to the medieval festival at Fort Tryon Park, I’m the only black person there, and I dress up as an African queen. I treat myself. I’m crazy. And you’re crazy. Why else we here except for us being crazy? Why else we sleeping in the slave cabins? My kids don’t answer the phone anymore when they see me calling. They think I should be put up in Bellevue. I want to talk to someone about all this; it’s just hard to. Not everybody wants to talk about the past . . . And I’m careful who I tell I come from Monticello. You got to be discriminating. ‘Cause not everyone cares. Actually, most people don’t care. Then they start joking with you. Most of us don’t know our history, so anybody who does they making fun of. In Brownsville they call me Mrs. Jefferson. And that just drives me nuts! Only safe place I’ve found to talk about the past? This plantation. This plantation is the only place I’ve ever found safe enough to talk over everything with everyone. Even if security leaving us in the dark. Out here. In the wilderness. Alone. Damn—we alone out here in the wilderness!”

 

III.

Before I had any idea who I was—what I was composed of—I knew of a few landmarks in my New England town. We lived in Redding, Connecticut, on a wooded property no more than a mile from where Mark Twain died. The annual Mark Twain Book Fair reminded us all of our indebtedness to him. The town library had been named after him, and his estate, Stormfield, was within an easy downhill jaunt of my home. On the way to the library, a walk I undertook frequently during the summer, we’d pass the “elephant walk,” where P.T. Barnum is said to have corralled his elephants. Later, as a young man of about 13, I began working as a farmhand for a family of writers who’d purchased their considerable property from a great-granddaughter of Nathaniel Hawthorne. American history, it seemed, was inescapable. And farm chores were inhibiting my full enjoyment of my teenage years. Predictably, when the owners of the farm left for an extended period of time, I threw parties. In honor of Hawthorne, my fellow debauchers and I nicknamed the property “Nate’s House.”

In Wendy Warren’s 2016 book New England Bound, the author recounts a visit Hawthorne made to Williams College for commencement ceremonies in 1838. Hawthorne was surprised to encounter free African Americans in New England. There were “a good many blacks among the crowd . . . a drunken negro . . . [a] gray old negro . . . [and] three or four well dressed and decent negro wenches . . . I suppose they used to emigrate across the border, while New-York was a slave state.”

“Hawthorne’s astonishment,” writes Warren, “at seeing African descent in a New England crowd and in a New England tavern, underscored just how effectively the importance of slavery to the region’s development had been erased from memory.”

Hawthorne’s great-great grandfather, John Hathorne, the only judge from the Salem Witch Trials who did not repent of his actions, presided over the courts when an enslaved Indian woman named Tituba, and at least two enslaved Africans, were accused of witchcraft. Some 24 years after his visit to Williams College, Nathaniel Hawthorne still could not perceive of the long-established presence of African-descended people in New England.

There is an historical circumstance, known to few, that connects the children of the Puritans with these Africans of Virginia, in a very singular way. They are our brethren, as being lineal descendants from the Mayflower, the fated womb of which, in her first voyage, sent forth a brood of Pilgrims upon Plymouth Rock, and, in a subsequent one, spawned slaves upon the Southern soil—a monstrous birth, but with which we have an instinctive sense of kindred, and so are stirred by an irresistible impulse to attempt their rescue, even at the cost of blood and ruin. The character of our sacred ship, I fear, may suffer a little by this revelation; but we must let her white progeny offset her dark one—and two such portents never sprang from an identical source before.

Hawthorne was mistaken; in point of fact, there were several ships named Mayflower operating in the 17th century, and the one that carried enslaved individuals was not the same that carried Puritans. “But in metaphorical terms,” Warren writes, “of course, he was absolutely right.”

More than a decade prior to Hawthorne’s mistaken assertion, William Wells Brown included in Clotel a juxtaposition of the Mayflower with a slave ship to Virginia: “Behold the May-flower anchored at Plymouth Rock, the slave-ship in James River . . . These ships are the representation of good and evil in the New World, even to our day. When shall one of those parallel lines come to an end?”

Despite Brown’s stature as a pioneering American novelist, he goes unmentioned in Clarence Walker’s writing on the mythic origins of the American people—though, of course, this is precisely what Brown was setting forth. Brown is also ignored in Annette Gordon-Reed’s magisterial studies of the Jefferson-Hemings relationship, though in a colloquy on Gordon-Reed’s The Hemingses of Monticello Robert S. Levine stated that “Reading Clotel and The Hemingses of Monticello side by side, one realizes that Gordon-Reed, in her great history of the Hemings family and Jefferson, has written a classic African American novel of the early Republic for the 21st century.”

 

IV.

“What’s it like to learn about your family in history books?” I was once asked. But the reality is that we all learn about our families through history books and the literary arts. In the writings of Albert Murray and his friend Ralph Ellison, I learn we are each of us engaged in the unconscious reenactment of rituals as old as humanity itself. We eat, pray, make love and procreate, sleep, communicate, and make art. It is this last act that distinguishes human life from other sentient beings. Stories are our domain.

In a remarkable essay, “Hidden Name and Complex Fate,” Ellison describes the power of reading literature: “The more I learned of literature . . . the more the details of my background became transformed.” When, during one of his first few days in Harlem Langston Hughes suggested he read Andre Malraux, Ellison drank deeply from Man’s Fate and Days of Wrath, “which led to my selecting Malraux as a literary ‘ancestor,’ whom, unlike a relative, the artist is permitted to choose.”

 

“It is a human paradox that we derive our liberality,
our truths, from fiction. There is sublime magic in
stories, and the past is regenerated before our eyes.”

 

With Clotel, William Wells Brown describes how the story of the Jefferson-Hemings relationship is representative of our national and personal origins, despite what we perceive to be our racial or cultural differences. Brown takes the story back from the tabloids, back from slanderous rumors, and gives it to us. We return to our writers—like Brown, Twain, Stowe, Ellison, Morrison, and Whitehead—for a view of ourselves and our ancestors.

It is a human paradox that we derive our liberality, our truths, from fiction. There is sublime magic in stories, and the past is regenerated before our eyes. Our literary artists do not turn away from the past. Instead, they lift for us the veil of time and history so that we may find ourselves. Like a family elder unbraiding the knot of the past for us to better understand, our writers initiate the psychodrama of self-identification. History is not so very far from us, unequivocally ours to hold. We are inheritors of an outrageous fortune.

+++++++++++
Andrew Mitchell Davenport is an editor of Full Stop and The Scofield. He was recently named a Robert H. Smith Fellow at the International Center for Jefferson Studies.

 

>via: http://lithub.com/race-is-the-original-american-fiction/

 

 

 

October 26, 2016

October 26, 2016

 

 

 

To Remake the World:

Slavery,

Racial Capitalism,

and Justice

 

 

BY WALTER JOHNSON

“White Cotton, Black Pickers” / Courtesy of the Library of Congress

“White Cotton, Black Pickers” / Courtesy of the Library of Congress

In Memory of Cedric Robinson (1940–2016) 

It is a commonplace to say that slavery “dehumanized” enslaved people, but to do so is misleading, harmful, and worth resisting.

I hasten to add that there are, of course, plenty of right-minded reasons for adopting the notion of “dehumanization.” It is hard to square the idea of millions of people being bought and sold, of systematic sexual violation, natal alienation, forced labor, and starvation with any sort of “humane” behavior: these are the sorts of things that should never be done to human beings. By terming these actions “inhuman” and suggesting that they either relied upon or accomplished the “dehumanization” of enslaved people, however, we are participating in a sort of ideological exchange that is no less baleful for being so familiar. We are separating a normative and aspirational notion of humanity from the sorts of exploitation and violence that history suggests may well be definitive of human beings: we are separating ourselves from our own histories of perpetration. To say so is not to suggest that there is no difference between the past and the present; it is merely that we should not overwrite the complex determinations of history with simple-minded notions of moral progress.

More important, though, is the ideological work accomplished by holding on to a normative notion of “humanity”—one that can be held separate from the “inhuman” actions of so many humans. Historians sometimes argue that some aspects of slavery were so violent, so obscene, so “inhuman” that, in order to live with themselves, the perpetrators had to somehow “dehumanize” their victims. While that “somehow” remains a problem—for it is never really specified what combination of unconscious, cultural, and social factors make a “somehow”—I want to question the assumption that slaveholders had to first “dehumanize” their slaves before they could swing a baby by the feet into a post to silence its cries, or jam the broken handle of a hoe down the throat of a field hand, or refer to their property as “darkies” or “hands” or “wool.”

The apparent right-mindedness of such arguments notwithstanding, this language of “dehumanization” is misleading because slavery depended upon the human capacities of enslaved people. It depended upon their reproduction. It depended upon their labor. And it depended upon their sentience. Enslaved people could be taught: their intelligence made them valuable. They could be manipulated: their desires could make them pliable. They could be terrorized: their fears could make them controllable. And they could be tortured: beaten, starved, raped, humiliated, degraded. It is these last that are conventionally understood to be the most “inhuman” of slaveholders’ actions and those that most “dehumanized” enslaved people. And yet these actions epitomize the failure of this set of terms to capture what was at stake in slaveholding violence: the extent to which slaveholders depended upon violated slaves to bear witness, to provide satisfaction, to provide a living, human register of slaveholders’ power.

What if we use the history of slavery
as a standpoint from which to rethink
our notion of justice today?

More than misleading, however, the notion that enslavement “dehumanized” enslaved people is harmful; it indelibly and categorically alters those with whom it supposedly sympathizes. Dehumanization suggests an alienation of enslaved people from their humanity. Who is the judge of when a person has suffered so much or been objectified so fundamentally that the person’s humanity has been lost? How does the person regain that humanity? Can it even be regained? And who decides when it has been regained? The explicitly paternalist character of these questions suggests that a belief in the “dehumanization” of enslaved people is locked in an inextricable embrace with the very history of racial abjection it ostensibly confronts. All this while implicitly asserting the unimpeachable rectitude and “humanity” of latter-day observers.

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It could be argued that my interpretation of the word “dehumanized” is grammatically fundamentalist and intellectually obtuse, that the point of saying that slavery “dehumanized” enslaved people is to draw attention to the immoral actions of slaveholderstheir inhumanity—rather than to make a claim about the abjection of enslaved people. I would respond by citing Philip Morgan’s Slave Counterpoint, a prizewinning history of slavery in eighteenth-century North America. In the introduction, Morgan emphasizes that African American slaves “strove . . . to preserve their humanity.”

Even as many historians explicitly and insistently vindicate the notion that enslaved people were human beings, they also implicitly and unwittingly suggest that the case for enslaved humanity is in need of being proven again and again. By framing their “discovery” of the enduring humanity of enslaved people as a defining feature of their work, by casting their work as proof of black humanity—as if this were a question that should even be posed—historians ironically render black humanity intellectually probationary. Efforts to separate “human” from “inhuman” and “dehumanized” thus create an unanticipated set of intellectual and ethical overflows.

Elsewhere in the same introduction, Morgan writes: 

Wherever and whenever masters, whether implicitly or explicitly, recognized the independent will and volition of their slaves, they acknowledged the humanity of their bondpeople. Extracting this admission was, in fact, a form of slave resistance, because slaves thereby opposed the dehumanization inherent in their status.

I want to emphasize that I am not quoting these sentences because they are exceptionally imperceptive. I quote them instead because they are emblematic: by counterpoising an emphasis on “independent will and volition” against the possibility of “dehumanization,” they crystallize a set of intellectual impulses and ethical premises that undergirds much of the scholarship on slavery. They frame their account of humanity as an aspect of the problem of freedom, and freedom of a very particular sort: the freedom to make choices and take intended actions—in other words, the bourgeois freedoms of classical liberalism. In so doing, they point to the peculiar complications that result from positioning the history of slavery at the juncture of the terms “human” and “rights.”

Several problems flow from the notion that every history of slavery is peopled by liberal subjects striving to be emancipated into the political condition of the twenty-first-century Western bourgeoisie. From a historiographic perspective, we could say that this perspective alienates enslaved people from the historical parameters and cultural determinants of their own actions. It takes their actions—from singing a spiritual to breaking a tool to fomenting a revolution to having a good idea about how to run a better sluiceway—and collapses them down to a single anachronistic and essentially liberal moral: enslaved people’s “agency” proved their humanity.

For the purposes of this essay, I am less interested in the historiographic implications of this line of reasoning than I am in its ethical dimensions. The tension between the specific actions and idioms of enslaved life and the broadly comparative categories of “independent will and volition,” “agency,” and “humanity” seem analogically—and, indeed, historically and ethically—related to the tension that Karl Marx noted between the historical and material inequalities of nineteenth-century society and the abstract equality of rights-based human emancipation, of which he was critical. In his essay “On the Jewish Question,” Marx wrote that the political citizen was “an imaginary member of an imaginary universality.” For Marx the material salients of human existence—“distinctions of birth, social rank, education, occupation”—continued to guide and determine the course of history, even as the inauguration of a new sort of history, the history of political equality, was announced to the world. In a passage that captures both the terrific promises and bounded limits of a rights-based notion of human emancipation, Marx wrote:

Political emancipation is, of course, a big step forward. True, it is not the final form of human emancipation, but it is the final form of human emancipation within the hitherto existing world order. It goes without saying that we are speaking here of [something greater than that] real, practical emancipation.

It is through Marx’s appreciation for and critique of the notion of citizenship—and, by extension, of the rights-based notion of the human being at the heart of the historiography of slavery—that I want to turn more directly to the question of human rights.

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A good deal of recent scholarship has emphasized the importance of both vernacular and institutional antislavery to the intellectual history of human rights. Samuel Moyn’s recent and influential account of the history of human rights, however, departs from this timeline to argue for a much later set of historical benchmarks. It was not until well into the twentieth century, Moyn argues, that the idea of “a new world” emerged, “in which the dignity of each individual will enjoy secure international protection.” While many other scholars are critical of the way that Moyn’s timeline sets the history of slavery and antislavery to the side of the history of human rights, I think Moyn is not without reason. The version of human rights that dominates contemporary super-sovereign rights claims, I would suggest, is not significantly inflected by the history of slavery, although it would be better if it were.

Our current notion of universal human rights has its origin in a particular historical experience: that of Europe in the twentieth century. Human-rights thinking has emphasized the universal rights of democratic self-determination, freedom of conscience and expression, protection from political violence and, above all, the anathematization of genocide. Paraphrasing Marx, I think it is fair to say that the emergence of a global movement in support of human rights is the summary accomplishment of “the hitherto existing world order.” It is not, however—nor in my view should it be—“the final form of human emancipation” or of what a just world should look like. In Moyn’s view, in fact, human-rights thinking has provided the intellectual architecture for a sort of liberal neo-imperialism, the justifying terms of continuing European and American intervention in the affairs of former colonies. 

There is a quite different genealogy for discussions of human freedom—this one rooted in the experience of slavery rather than the question of the humanity of slaves. The Movement for Black Lives proposal, “A Vision for Black Lives,” insists on a relationship between the history of slavery and contemporary struggles for social justice. At the heart of the proposal is a call for “reparations for the historic and continuing harms of colonialism and slavery.” Indeed, the ambient as well as the activist discussion of justice in the United States today is inseparable from the history of slavery.

The idea that enslavement “dehumanized”
enslaved people suggests that their
humanity needs to be proven again
and again.

With this in mind, we might return to the question of “human emancipation”—this time with the purpose of essaying a notion of justice that is rooted in the history of slavery and goes beyond liberal notions of human rights. Through this route, we can arrive at a history of the global political economy that is attentive to what, following Cedric Robinson, I term racial capitalism.

In Black Marxism (1983), Robinson argues that the historical developments of capitalism and racism were inseparable. Engaging with black nationalism and orthodox Marxism, he argues that the path toward the just and the good cannot be found in the “authoritarian” pronouncements of uninflected Marxism, with its single route to revolution, nor in the historical “simplications” of black nationalism, which threatens to replicate white-dominated institutions but with black people in charge. Instead the path to justice is located in the black radical tradition: in the democratic practices and revolutionary thought of black people living under conditions of racial capitalism.

Black Marxism begins with a history of slavery in medieval Europe, in part to demonstrate the historically contingent character of the relationship between slavery and blackness. It then turns to the early modern period and the European enslavement of Africans. In the era of the Atlantic slave trade, new notions of difference—absolute, racial notions of difference—were used to define, describe, and justify the political economy of slavery.

For Robinson, W. E. B. Du Bois was the preeminent historian of the ways that racism had defined the history of capitalism and interrupted the universalist pretensions of Marxist orthodoxy. In a 1920 essay entitled “The Souls of White Folk,” Du Bois suggests that both economic exploitation and domination justified by imagined difference have histories “as old as mankind.” But their combination in European imperialism—the “discovery of personal whiteness” by those who claimed title to the world and the concomitant designation of the world’s dark peoples as “beasts of burden”—is recent, a product of the slave trade. Gone in Du Bois are the orthodox markers that serve to keep the history of slavery separate from the history of capitalism. In their place Du Bois proposes a new milestone, the emergence of a sort of capitalism that relies upon the elaboration, reproduction, and exploitation of notions of racial difference: a global capitalism concomitant with the invention of what Robinson termed “the universal Negro.” In short: racial capitalism.

In Black Reconstruction in America, published fifteen years later, Du Bois roots his account of racial capitalism in the history of slavery in the United States. “The giant forces of water and of steam were harnessed to do the world’s work, and the black workers of America bent at the bottom of a growing pyramid of commerce and industry; and they not only could not be spared, if this new economic organization was to expand, but rather they became the cause of new political demands and alignments, of new dreams of power and visions of empire,” he writes in the book’s first pages.

Black labor became the foundation stone not only of the Southern social structure, but of Northern manufacture and commerce, of the English factory system, of European commerce, of buying and selling on a world-wide scale; new cities were built on the results of black labor, and a new labor problem, involving all white labor, arose in both Europe and America.

In a few sentences, Du Bois scuttles the orthodox separation of slavery and capitalism. He names his history of American slavery “The Black Worker”—a subject, at once, of capital and of white supremacy. This, Robinson writes, was “the beginning of the transformation of the historiography of American Civilization—the naming of things.”

Rather than following Adam Smith or Karl Marx, each of whom viewed slavery as a residual form in the world of emergent capitalism, Du Bois treats the plantations of Mississippi, the counting houses of Manhattan, and the mills of Manchester as differentiated but concomitant components of a single system. Many scholars have expressed a fear that terming both what happened in Mississippi and what happened in Manchester “capitalism” will make it impossible to see the trees for the forest—“obscuring,” in the words of James Oakes, “fundamental differences between economies based on enslaved [and] free labor.” But there is no obvious reason that should be the case. Arguing that the history of (racial) capitalism began with the slave trade rather than the factory system does not necessarily pose any greater threat to historical and analytical precision than arguing that both Harriet Tubman and John C. Calhoun were human beings.

Indeed, Du Bois draws attention to the very differences that Oakes worries will be elided. He simply sees the production of these differences as an aspect of the history he is trying to understand, rather than as an inevitable answer to which any historical account must aspire. The history of white working-class struggle, for example, cannot be understood separate from the privileges of whiteness, to which the white working classes of Britain and the United States laid claim in their demands for equal political rights. And it was the ever-expanding frontier of imperialism and racial capitalism that pacified the white working class with the threat of replacement and promise of a share of the spoils. The history of racial capitalism, it must be emphasized, is a history of wages as well as whips, of factories as well as plantations, of whiteness as well as blackness, of “freedom” as well as slavery.

Critically, there is nothing static or simple about this formulation. Du Bois does not argue that all whites benefit from capitalism while all blacks do not. But nor does he argue that blacks and whites are “workers” in the same way. He suggests instead a subtle and dynamic relationship between capitalist exploitation and white supremacy. Likewise, Du Bois insists on a coeval and dialectical relationship between metropole and colony: even as the economic spaces of the global South were reconfigured in relation to northern capital, metropolitan class relationships were reconfigured around ideas of freedom and entitlement that emerged from imperialism and slavery.

Du Bois’s famous invocation of the “wages of whiteness” can best be understood in the context of a global economy that entwined Mississippi, Manhattan, and Manchester together in a white-supremacist system of differential rights and entitlements. Under the dominion of cotton, metropolitan wage workers came to understand themselves as white and to measure their entitlement in terms of slavery and empire: as natural and just when they shared in the spoils; as insupportable and impious when they did not.

Far from obscuring the differences between the social relations of production in the various regions of the world, Black Reconstructionprovides an account of their historical interconnection, their racial predication, and their functional differentiation. “The abolition of American slavery,” Du Bois writes, “started the transportation of capital from white to black countries where slavery prevailed . . . and precipitated the modern economic degradation of the white farmer, while it put into the hands of the owners of the machine such a monopoly of raw material that their dominion of white labor was more and more complete.” The end of slavery in the United States, according to Du Bois, marked not the liberation of the independent forces of capitalism and freedom from their archaic interconnection with slavery, but the generalization on a global scale of the racial and imperial vision of the “empire of cotton.” The history of racial capitalism is a history of the interconnected process by which economic, geographic, and racial differences were seeded, took root, and finally grew up to such an extent that they obscured efforts to search out their common origin: a history, at once, of integrative connection and divisive particularization.

Perhaps the fullest expression of Du Bois’s account of global racial capitalism is in his 1946 book The World and Africa. There he describes the process by which “slavery and the slave trade became transformed into anti-slavery and colonialism, and all with the same determination and demand to increase profit an investment.” Although this meant that terms of European stewardship were transformed, even at times inverted, the racial pattern of extraction and exploitation nonetheless continued unabated.

It all became a characteristic drama of capitalist exploitation, where the right hand knew nothing of what the left hand did, yet rhymed its grip with uncanny timeliness; where the investor neither knew, nor inquired, nor greatly cared about the sources of his profits; where the enslaved or dead or half-paid worker never saw nor dreamed of the value of his work (now owned by others); where neither the society darling nor the great artist saw the blood on the piano keys; where the clubman, boasting of great game hunting, heard above the click of his smooth, lovely, resilient billiard balls no echo of the wild shrieks of pain from kindly, half-human beasts as fifty to seventy-five thousand each year were slaughtered in cold, cruel, lingering horror of living death; sending their teeth to adorn civilization on the bowed heads and chained feet of thirty thousand black slaves, leaving behind more than a hundred thousand corpses in broken, flaming homes. 

As much as anything, this is an account of the spatial aspect of racial capitalism. It emphasizes both the intimate, violent proximities and the material and cognitive distances of region, race, and scale (global and imperial, intimate and proximate). Du Bois’s account is particularly interested in the material culture of racial capital, of how the suffering of dead elephants and enslaved Africans was reassembled elsewhere as sensory pleasures for the parlors and pool halls of imperial London. It is an environmental history of the resource-extracting, race-differentiating, world-wasting race to the end of time. Uncannily, the most ambitious and perceptive examples of the “new history of capitalism” turn out to have been written over seventy years ago.

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Implicit in the insight of racial capitalism is the claim that there is something fundamental and racial (or, more precisely, racist) that is elided by the conventional understanding of capitalism’s origins. With this parallax in mind, the burden of proof rests on the notion’s advocates to show what is gained by thinking outward from the history of slavery to an overarching idea of racial capitalism. A history of capitalism framed by categories derived from analysis of the mills of Manchester might have seemed to make sense in the era of the miners’ strike in Great Britain or of George Meany and the AFL-CIO in the United States (although the murder of Vincent Chin, among countless other examples, suggests otherwise). The history of American slavery, however, seems a more apt starting point for the analysis of a world characterized by the global division of labor, the resurgence of slavery as mode of production, the emergence of personal services (and pornography) as leading sectors of the economy, and the effulgence of nativism and white nationalism as fundamental features of white working-class ideology. History has moved on, and in so doing it has reshuffled its own past.

Much of the scholarship on slavery
has relied upon a pat liberal notion
of human rights as its moral paradigm.

Indeed, the history of capitalism makes no sense separate from the history of the slave trade and its aftermath. There was no such thing as capitalism without slavery: the history of Manchester never happened without the history of Mississippi. In Capitalism and Slavery (1944), Eric Williams gives a detailed account of the supersession of British colonial interests by manufacturing ones and the replacement of cotton with sugar as the foundation of capitalist development. Williams argues that Great Britain freed its slaves, but did not free itself from slavery. British capitalists simply outsourced the production of the raw material upon which they principally depended to the United States. During the antebellum period, 85 percent of the cotton produced in the United States was exported to Great Britain. During the same period 85 percent of the cotton manufactured in Great Britain was imported in raw form from the United States. Raw cotton was thus the largest single export of the United States and the largest single import of Great Britain.

Trying to abstract the social relations of production that characterized British (or American) cotton mills from the rest of the economy that gave them life—and then identifying this as the paradigmatic example of “capitalism”—quite simply does not make sense. “Would Great Britain have industrialized without slavery, though perhaps at a different pace or in a different way?” James Oakes has recently written. What is being proposed is an adventitious, ahistorical definition of capitalism—a thing which might have happened even though it actually did not—that serves no purpose except to preserve, at whatever cost, the analytical precedence of Europe over Africa, the factory over the field, and the white working class over black slaves. Capitalism counterfactually emancipated from slavery. That is not social science; it is science fiction.

Rather than asking over and over what Marx said about slavery, we should follow Robinson in asking what slavery says about Marx. We should use the history of slavery as the source rather than the subject of knowledge. Let us begin with the most basic distinction in political economy: the distinction between capital and labor. Enslaved people were both. Their double economic aspect could not be separated and graphed on the axes of a Cartesian grid; their interests could not be balanced against one another or subordinated to one another in an effort to secure social order. They were both.

And so, too, were their children: racial capitalism swung on a reproductive hinge. The entire “pyramid” of the Atlantic economy of the nineteenth century (the economy that has been treated as the paradigmatic example of capitalism) was founded upon the capacity of enslaved women’s bodies: upon their ability to reproduce capital. As Deborah Gray White points out, sexual violation, reproductive invigilation, and natal alienation were elementary aspects of slavery, and thus of racial capitalism. The alternative, of course, was the slave trade. As the slaveholder J. D. B. DeBow stated in his 1858 argument for reopening the Atlantic slave trade to the United States (which had been outlawed in 1808), it was either that or “await with folded arms the coming of population and of labor which will be the result of natural increase.” A commercial mode of social reproduction would make black women disposable. 

The political economy of the nineteenth century was founded on these basic facts. Every year the cotton merchants of Great Britain made tremendous advances to the cotton planters of the South. The planters used the credit to purchase seeds and tools and slaves and the food to feed them, and they planned to use those slaves to plant and pick and pack and ship the cotton that would cover the money that had been advanced to them, and then some. As pro-slavery political economist Thomas Kettel wrote in 1860:

The agriculturalists, who create the real wealth of the country, are not in daily receipt of money. Their produce is ready but once a year, whereas they buy supplies [on credit] year round. . . . The whole banking system of the country is based primarily on this bill movement against produce.

In case the cotton proved too scant or poor to cover the amount that had been advanced against its eventual sale, or in case the cotton market dipped in the time between when an advance was made and the time the crop came in, cotton merchants required some sort of security from the planters to whom they loaned money. That security was the value of the enslaved. Therefore, given that enslaved people were the collateral upon which the entire system depended, it seems absurd to persist in asking whether the political economy of slavery was or was not “capitalist.” Enslaved people were the capital. Their value in 1860 was equal to all of the capital invested in American railroads, manufacturing, and agricultural land combined.

It is important to add that the land tells a different part of the story, one that resounds with Du Bois’s emphasis on empire alongside enslavement as the primary categories of capitalist accumulation. The land that enslaved people planted in cotton and which their owners posted as collateral was Native American land: it had been expropriated from the Creek, the Cherokee, the Choctaw, the Chickasaw, and the Seminole. Indeed, if one traces the legal history of private property in the United States back, trying to find a legal foundation for determining why (legally rather than morally speaking) we own what we think we own, at the bottom lies the decision of the United States Supreme Court in the case of Johnson v. McIntosh(1823). At stake in the case was the question of whether white settlers could purchase land directly from native inhabitants, and the answer of the Supreme Court was “no.” Native American lands, the court ruled, must be passed through the public domain of the United States before being converted into the private property of white inhabitants. In other words, the foundation of the law of property in the United States combines, at once, the imperial assertion of U.S. sovereignty and the identification of that project with continental racial governance.

The version of human rights that
dominates contemporary discourse
is not significantly inflected by
the history of slavery, although
it would be better if it were.

The racial capitalism of the nineteenth century was founded upon the racialization and instrumentalization, the commodification and securitization, the expropriation and forcible transportation, the sexual violation and reproductive alienation of Africans and Native Americans. It is here we must begin to reimagine the categories against which we stretch the past into historical meaning, to follow the lead of those who self-consciously work in the tradition of Du Bois and Robinson: scholars such as Ruth Wilson Gilmore, Adam Green, Cheryl Harris, Peter Hudson, Robin D. G. Kelley, George Lipsitz, Lisa Lowe, Gary Okihiro, Nell Irvin Painter, David Roediger, Alexander Saxton, and Stephanie Smallwood. And no longer should the “capitalism-slavery debate” proceed without a full and forthright acknowledgement of and engagement with the pioneering work and enduring insights of W. E. B. Du Bois, C. L. R. James, Eric Williams, Walter Rodney, Angela Davis, and Cedric Robinson.

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Let me return to the relationship between the history of slavery and contemporary notions of justice. Tragically, the history of slavery is increasingly being written without enslaved people. By this, I mean that a field formerly defined by the dissident, bottom-up methodology of African American Studies and social history is increasingly dominated by work that does not ask questions about the experiences, ideas, or history of the enslaved (even while it teaches us many new things about slaveholders and their business partners). Let me be clear: it is not only nonsensical but also unethical to continue asking whether slavery was capitalist without asking what that meant to enslaved people—to investigate what Du Bois termed “the philosophy of life and action which slavery bred in the souls of black folk.”

From the history of the enslaved, we might make our way back toward the question of rights. I began by suggesting that much of the scholarship on slavery has unwittingly relied upon a pat liberal notion of human rights as its moral paradigm—despite the clear contradiction between the universalization of a bourgeois liberal actor and the legal and experiential realities of American slavery. The culturally dominant notion of human rights is not only unreflective of the history of slavery; it is unresponsive to the specific patterns of injustice that follow from the history of slavery. In its place, I suggest the possibility of using the history of slavery as a standpoint from which to rethink our notion of justice. What is left is to delineate the usefulness of this history to an account of justice.

There are six principal virtues of an account of justice rooted in the history of slavery and racial capitalism: 

First, it mounts its critique of modern injustice from the standpoint of Africa and what has come to be called “the global South,” rather than from Europe and “the global North.”

Second, it focuses on the extraction and distribution of resources between classes and areas of the world: on the relationship of African American history to Native American history, for example, or on the relationship of either or both of those to the history of the white workers (and merchants and bankers) in the financial and manufacturing centers of the United States and Europe. So doing, it proposes the generalization of an account of historical wrong based in the experiences of the dark and dispossessed rather than in those of the metropolitan bourgeoisie.

Third, it emphasizes the ways in which present distributions of privilege and abjection are related to past patterns. It opens a pathway along which historically deep notions of restorative justice and reparations, rather than a synchronic focus on “rights,” might be seen as the only adequate form of redress.

Fourth, it insists upon a notion of justice attentive to questions of gender and sexuality, on the ways that reproductive invigilation and natal alienation—the subordination of the social reproduction of one group of people to the purposes of another—were core features of the human wrongs of slavery.

Fifth, it asserts a direct relationship between—and indeed, the functional sameness of—what are conventionally separated as the politics of “race” and “class.” It correlates both the entitlement and vulnerability of the white working class with the subjection of the “dark proletariat,” and connects the insistent racialization of the global working class to the operations of capital.

Sixth, it suggests the possibility of relating a critique of the instrumentalization of human beings through slavery to the instrumentalization of nature in capitalist forms of extraction. Over and against many recent efforts which assert that a forthright treatment of global environmental history requires the elevation of the categories of the “human” and the “Anthropocene” over and against other historical categories—principally those of race, class, gender, and colonialism—it insists upon the intimate and dialectical relationship between domination and dominion. 

In The Suppression of the African Slave Trade to the United States of America (1896), an extended description of the various heartless and cynical prevarications through which the United States evaded the suppression of the Atlantic slave trade, Du Bois made an argument about the character of historical time. There were, in his view, moments that were propitious for change, moments when it was possible—with courageous and concerted action—to remake the world in its own better image. The cost, for Du Bois, of missing those moments could only be reckoned in the blood of the subsequent generations who paid the price for their forebears’ failures. Perhaps we should heed his warning.

 

>via: http://bostonreview.net/race/walter-johnson-slavery-human-rights-racial-capitalism

 

 

 

 

 

 

March 30, 2017

March 30, 2017

 

 

alondra nelson

Q&A with

Alondra Nelson

The dean of social science at
Columbia University discusses
her book The Social Life of DNA.

 

 

BY MISHA ANGRIST

 

 

 

Why did you choose to examine African-Americans’ approach to genetic ancestry in The Social Life of DNA?
Given the Tuskegee syphilis experiment, given the history of eugenics, one of the curiosities for me was why in the world would African-Americans put their saliva in an envelope and expect that they’re going to get anything meaningful for their lives or their history [from a genetic ancestry] test? That became the puzzle of the book.

What did you learn?
That there were all sorts of complicated answers. The African-American genealogists I spoke with were not only suspicious, they were also curious — they were science geeks. I thought if they knew better, then they would do better. But what they said was, “Look, we know this history [of Tuskegee and eugenics] and we’re going into this with that history in mind, and we’ll take that into account as we negotiate and think about the results we get back.”

What does it mean for DNA to have a “social life?”
Initially, I thought I was talking about racial identity and ethnic identity. And what I heard back was that the genetic ancestry experience was part of a lot of other experiences that African-Americans were having: in the criminal justice system, in clinical settings, and in genealogical settings. So, what people think about genetics is often drawing on all of these experiences simultaneously. What “the social life of DNA” means is that if we are to understand what genetics means at this moment, then we need to be thinking about all of these experiences and not stay in our silos as scholars and researchers.

Your book describes genetics in the context of a series of racial and historical “reconciliation projects.” What does that mean exactly?
When something happened 100 or 200 years ago, it can feel very abstract. Genetic genealogy is not about the abstract stranger — it’s about the person who lives next door. It’s about the person who is the great-great granddaughter or grandson of one of these enslaved people. So there’s a way in which genetic genealogy and genetic ancestry testing allows us into historical things that can seem very abstract. That’s where the idea of racial reconciliation comes from.

For a long time you resisted taking genetic ancestry tests yourself. Why?
The science could be better. The databases are private for the most part. We don’t know what algorithms people are using to tabulate the assignments [to various ethnic groups]. We don’t know the weightings of various markers to say, “you have this percentage of African ancestry” or “you have this percentage of European ancestry.” What we hold to be the gold standard of science with regard to reproducibility, verifiability, peer review — none of these things obtain for genetic ancestry testing. So that gave me pause.

Despite those misgivings, you eventually relented and took an ancestry test. In 2010, you were part of a public event in Atlanta, where you learned the results in a “big reveal,” along with Martin Luther King III, among others. What was that experience like?
It was kind of surreal. It had become clear to me that the reveal is an important part of the emotional power of the experience. The audience came for that. But my emotion was tempered because I knew too much [about the limits of the test], though I still felt like I owed the audience something. But it turned out that the audience does most of the [emotional] work.

And you’re now contemplating doing further genetic ancestry testing. Is that because the science is better?
Yes. And genealogists have gotten a lot more sophisticated. They upload to third-party apps like GEDmatch. Ancestry.com has made it more possible to link the conventional and genetic genealogy records. That’s interesting to someone like me studying reconciliation, because it requires other people to open their family trees to you. If you get pings from a fourth cousin and you align your trees, then that’s a different experience from doing it on your own.

How does the fact that people are taking this upon themselves and self-organizing make current approaches to genetic ancestry different from the way such testing used to be done?
They become autodidacts by going to conferences and reading papers. Twentieth-century eugenics research on “feebleminded” people, on people of Jewish descent, all the racist research — that was only top-down. [In those days] only people of scientific authority sponsored it, whereas here you have people opting in to the experience. As much as we want to be cautious, we have to recognize that opting in is a different experience from top-down declarations about the meaning of one’s DNA.

How do you respond to those who worry that genomics will just reinforce existing racial and racist ideas, especially given the current political climate in the U.S.?
Do we need to worry about the claims genetic scientists make that get taken up to justify forms of inequality and for social and political discrimination? Absolutely, yes! [But] the deep racial fissures in the U.S. that were brought into relief by the presidential campaign will not change African-Americans’ desire to use genetic ancestry testing to heighten understanding of historical and enduring racial inequality. To the contrary, this new political context may well increase the use of DTC genetics for this purpose, because part of what came along with the Right’s political rhetoric was a willful denial of past and present racial injustice.

 

 

>via: http://genomemag.com/alondra-nelson/#.WOzUxtIrK00?platform=hootsuite