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

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"--

"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"--