Antiracism, Cultural Competency & Civil Rights

"An illustrated edition of The 1619 Project, with newly commissioned artwork and archival images, The New York Times Magazine's award-winning reframing of the American founding and its contemporary echoes, placing slavery and resistance at the center of the American story. Here, in these pages, Black art provides refuge. The marriage of beautiful, haunting and profound words and imagery creates an experience for the reader, a wanting to reflect, to sit in both the discomfort and the joy, to contemplate what a nation owes a people who have contributed so much and yet received so little, and maybe even, to act. --Nikole Hannah-Jones, from the Preface. Curated by the editors of The New York Times Magazine, led by Pulitzer Prize-winning journalist Nikole Hannah-Jones, this illustrated edition of The 1619 Project features seven chapters from the original book that lend themselves to beautiful, engaging visuals, deepening the experience of the content. The 1619 Project: A Visual Experience offers the same revolutionary idea as the original book, an argument for a new national origin story that begins in late August of 1619, when a cargo ship of enslaved people from Africa arrived on the shores of Jamestown, Virginia. Only by reckoning with this difficult history and understanding its powerful influence on our present can we prepare ourselves for a more just future. Filled with original art by thirteen Black artists like Carrie Mae Weems, Calida Rawles, Vitus Shell, Xaviera Simmons, on the themes of resistance and freedom, a brand-new photo essay about slave auction sites, vivid photos of Black Americans celebrating their own forms of patriotism, and a collection of archival images of Black families by Black photographers, this gorgeous volume offers readers a dynamic new way of experiencing the impact of The 1619 Project. Complete with many of the powerful essays and vignettes from the original edition, written by some of the most brilliant journalists, scholars, and thinkers of our time, The 1619 Project: A Visual Experience brings to life a fuller, more comprehensive understanding of American history and culture"--

A sobering account of a little-known crime against African Americans, and the insidious legacy of racism that reverberates today. From the aftermath of the Civil War through the dawn of World War II, under laws enacted specifically to intimidate blacks, tens of thousands of African Americans were arbitrarily arrested, hit with outrageous fines, and charged for the costs of their own arrests. With no means to pay these "debts," prisoners were sold as forced laborers to coal mines, lumber camps, brickyards, railroads, quarries, and farm plantations. Thousands of other African Americans were simply seized and compelled into years of involuntary servitude. Armies of "free" black men labored without compensation, were repeatedly bought and sold, and were forced through beatings and physical torture to do the bidding of white masters for decades after the official abolition of American slavery.--From publisher description

"This work is a history of slavery, capitalism, and the law that not only reframes how we understand the commodification of enslaved people, but also makes a significant methodological and moral argument for how historians should seek to make sense of the lived experiences of enslaved people in the antebellum United States"--

"A surge in interest in black reparations is taking place in America on a scale not seen since the Reconstruction Era. The Black Reparations Project gathers an accomplished interdisciplinary team of scholars-members of the Reparations Planning Committee-who have considered the issues pertinent to making reparations happen. This book will be an essential resource in the national conversation going forward. The first section of The Black Reparations Project crystallizes the rationale for reparations, cataloguing centuries of racial repression, discrimination, violence, mass incarceration, and the massive black-white wealth gap. Drawing on the contributors' expertise in economics, history, law, public policy, public health, and education, the second section unfurls direct guidance for building and implementing a reparations program, including draft legislation that addresses how the program should be financed and how claimants can be identified and compensated. Rigorous and comprehensive, The Black Reparations Project will motivate, guide, and speed the final leg of the journey for justice"--

"Bridging women's history, the history of the South, and African American history, this book makes a bold argument about the role of white women in American slavery. Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave-owning women were sophisticated economic actors who directly engaged in and benefited from the South's slave market. Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth. Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave-owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment. By examining the economically entangled lives of enslaved people and slave-owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America"--

"In Sweet Taste of Liberty, W. Caleb McDaniel focuses on the experience of a freed slave who was sold back into slavery, eventually freed again, and who then sued the man who had sold her back into bondage. Henrietta Wood was born into slavery, but in 1848, she was taken to Cincinnati and legally freed. In 1855, however, a wealthy Kentucky businessman named Zebulon Ward, who colluded with Wood's employer, abducted Wood and sold her back into bondage. In the years that followed before and during the Civil War, she gave birth to a son and was forced to march to Texas. She obtained her freedom a second time after the war and returned to Cincinnati, where she sued Ward for $20,000 in damages--now known as reparations. Astonishingly, after ten years of litigation, Henrietta Wood won her case. In 1878, a Federal jury awarded her $2,500 and the decision stuck on appeal. While nowhere close to the amount she had demanded, this may be the largest amount of money ever awarded by an American court in restitution for slavery. Wood went on to live until 1912"--

"A profound new rendering of the struggle by African Americans for equality after the Civil War and the violent counterrevolution that resubjugated them, as seen through the prism of the war of images and ideas that have left an enduring stain on the American mind. The story of the abolition of slavery in the aftermath of the Civil War is a familiar one, as is the civil rights revolution that transformed the nation after World War II. But the century in between remains a mystery: If emancipation came in Lincoln's America, why was it necessary to march in Martin Luther King, Jr.'s America? In a history that moves from Reconstruction to the Harlem Renaissance, Harvard scholar Henry Louis Gates, Jr., one of our leading chroniclers of the African American experience, brings a lifetime of wisdom to bear as a scholar, filmmaker, and public intellectual to answer that question. Interwoven with this history, Stony the Road examines America's first postwar clash of images utilizing modern ma ss media to divide, overwhelm--and resist. Enforcing a stark color line and ensuring the rollback of the rights of formerly enslaved people, racist images were reproduced on an unprecedented scale thanks to advances in technology such as chromolithography, which enabled their widespread dissemination in advertisements, on postcards, and on an astonishing array of everyday objects. Yet, during the same period when the Supreme Court stamped 'separate but equal' as the law of the land, African Americans advanced the concept of the 'New Negro' to renew the fight for Reconstruction's promise. Against the steepest of odds, they waged war by other means: countering depictions of black people as ignorant, debased, and inhuman with images of a vanguard of educated and upstanding black women and men who were talented, cosmopolitan, and urbane. The story Gates tells begins with Union victory in the Civil War and the liberation of nearly four million enslaved people. But the terror unleashed by wh ite paramilitary groups in the former Confederacy, combined with deteriorating economic conditions and diminished Northern will, restored 'home rule' to the South. One of the most violent periods in our history followed the retreat from Reconstruction, with thousands of African Americans murdered or lynched and many more afflicted by the degrading impositions of Jim Crow segregation. An essential tour through one of America's fundamental historical tragedies, [this book] is also a story of heroic resistance, as figures from Frederick Douglass to W E.B. Du Bois created a counternarrative, and culture, inside the lion's mouth. Gates charts the noble struggle of black people to defeat racism and force the country to honor the 'new birth of freedom' that Lincoln pledged would be the legacy of the Civil War, and uncovers the roots of racism in our time. Understanding this bitter struggle is essential if America's deepest wounds are ever truly to heal."--

An exploration of the idea of selective and forced slave breeding in the U.S. based on the collective memory and folktales of the descendants of enslaved people

How did America recover after its years of civil war? How did freed men and women, former slaves, respond to their newly won freedom? David Roediger's radical new history redefines the idea of freedom after the jubilee, using fresh sources and texts to build on the leading historical accounts of Emancipation and Reconstruction. Reinstating ex-slaves' own "freedom dreams" in constructing these histories, Roediger creates a masterful account of the emancipation and its ramifications on a whole host of day-to-day concerns for Whites and Blacks alike, such as property relations, gender roles, and labor

""It is staggering that there is no date commemorating the end of slavery in the United States." -Annette Gordon-Reed. The essential, sweeping story of Juneteenth's integral importance to American history, as told by a Pulitzer Prize-winning historian and Texas native. Interweaving American history, dramatic family chronicle, and searing episodes of memoir, Annette Gordon-Reed, the descendant of enslaved people brought to Texas in the 1850s, recounts the origins of Juneteenth and explores the legacies of the holiday that remain with us. From the earliest presence of black people in Texas-in the 1500s, well before enslaved Africans arrived in Jamestown-to the day in Galveston on June 19, 1865, when General Gordon Granger announced the end of slavery, Gordon-Reed's insightful and inspiring essays present the saga of a "frontier" peopled by Native Americans, Anglos, Tejanos, and Blacks that became a slaveholder's republic. Reworking the "Alamo" framework, Gordon-Reed shows that the slave-and race-based economy not only defined this fractious era of Texas independence, but precipitated the Mexican-American War and the resulting Civil War. A commemoration of Juneteenth and the fraught legacies of slavery that still persist, On Juneteenth is stark reminder that the fight for equality is ongoing"--

Americans think of the North American colonies’ War for Independence from Great Britain as a struggle for freedom by a people subjected to colonial domination. Without denying the colonies’ grievances, this paper argues that the principal victims of injustice in North America were not European Americans but Americans of color. The freedom to exterminate Indians and take their land was one of the main objectives of the colonists’ drive for independence. The British government for its own reasons sought to slow down the colonies’ westward expansion. With territorial expansion would come the spread of slavery. Such effects were intended and accomplished and had been reasonably predictable at the time. It follows that one must question whether the War for Independence was morally justifiable.

"The animating idea of The 1619 Project is that our national narrative is more accurately told if we begin not on July 4, 1776, but in late August of 1619, when a ship arrived in Jamestown bearing a cargo of twenty to thirty enslaved people from Africa. Their arrival inaugurated a barbaric and unprecedented system of chattel slavery that would last for the next 250 years. This is sometimes referred to as the country's original sin, but it is more than that: It is the country's very origin. The 1619 Project tells this new origin story, placing the consequences of slavery and the contributions of Black Americans at the center of the story we tell ourselves about who we are as a country. Orchestrated by the editors of The New York Times Magazine, led by MacArthur "genius" and Pulitzer Prize-winning journalist Nikole Hannah-Jones, this collection of essays and historical vignettes includes some of the most outstanding journalists, thinkers, and scholars of American history and culture--including Linda Villarosa, Jamelle Bouie, Jeneen Interlandi, Matthew Desmond, Wesley Morris, and Bryan Stevenson. Together, their work shows how the tendrils of 1619--of slavery and resistance to slavery--reach into every part of our contemporary culture, from voting, housing and healthcare, to the way we sing and dance, the way we tell stories, and the way we worship. Interstitial works of flash fiction and poetry bring the history to life through the imaginative interpretations of some of our greatest writers. The 1619 Project ultimately sends a very strong message: We must have a clear vision of this history if we are to understand our present dilemmas. Only by reckoning with this difficult history and trying as hard as we can to understand its powerful influence on our present, can we prepare ourselves for a more just future"--

The recordings of former slaves in Voices Remembering Slavery: Freed People Tell Their Stories took place between 1932 and 1975 in nine states. Twenty-two interviewees discuss how they felt about slavery, slaveholders, coercion of slaves, their families, and freedom. Several individuals sing songs, many of which were learned during the time of their enslavement. It is important to note that all of the interviewees spoke sixty or more years after the end of their enslavement, and it is their full lives that are reflected in these recordings. The individuals documented in this presentation have much to say about living as African Americans from the 1870s to the 1930s, and beyond.

The Slavery in America and the World database is particularly special because of the meticulous development and organization that went into its development, opening up opportunities for unique browse and search tools. Learn how to use these tools in this guide.

"Beginning in 1876, the Court systematically dismantled both the equal protection guarantees of the Fourteenth Amendment, at least for African-Americans, and what seemed to be the guarantee of the right to vote in the Fifteenth. And so, of the more than 500,000 African-Americans who had registered to vote across the South, the vast majority former slaves, by 1906, less than ten percent remained. Many of those were terrified to go the polls, lest they be beaten, murdered, or have their homes burned to the ground. None of this was done in the shadows-those determined to wrest the vote from black Americans could not have been more boastful in either intent or execution. But the Court chose to ignore the obvious and wrote decisions at odds with the Constitution, preferring to instead reinforce the racial stereotypes of the day. "Whites Only" tells the story of an American tragedy, the only occasion in United States history in which a group of citizens who had been granted the right to vote then had it stripped away. Even more unjust was that this theft of voting rights was done with full approval, even the sponsorship, of the United States Supreme Court"--