"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"--

"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"--

Before the Civil War, colonization schemes and black laws threatened to deport former slaves born in the United States. Birthright Citizens recovers the story of how African American activists remade national belonging through battles in legislatures, conventions, and courthouses. They faced formidable opposition, most notoriously from the US Supreme Court decision in Dred Scott. Still, Martha S. Jones explains, no single case defined their status. Former slaves studied law, secured allies, and conducted themselves like citizens, establishing their status through local, everyday claims. All along they argued that birth guaranteed their rights. With fresh archival sources and an ambitious reframing of constitutional law-making before the Civil War, Jones shows how the Fourteenth Amendment constitutionalized the birthright principle, and black Americans' aspirations were realized. Birthright Citizens tells how African American activists radically transformed the terms of citizenship for all Americans.

"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."--

'How the Word is Passed' is Clint Smith's revealing, contemporary portrait of America as a slave owning nation. Beginning in his own hometown of New Orleans, Smith leads the reader through an unforgettable tour of monuments and landmarks - those that are honest about the past and those that are not - that offer an intergenerational story of how slavery has been central in shaping our nations collective history, and ourselves.

Edward E. Baptist is Associate Professor of History at Cornell University. He earned his Ph.D. in History from the University of Pennsylvania and is the author of Creating an Old South, which won the 2003 Rembert Patrick Best Book in Florida History Award from the Florida Historical Society, and the co-editor of New Studies in the History of American Slavery.

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.

"In 1927, Zora Neale Hurston went to Plateau, Alabama, just outside Mobile, to interview eighty-six-year-old Cudjo Lewis. Of the millions of men, women, and children transported from Africa to America as slaves, Cudjo was then the only person alive to tell the story of this integral part of the nation's history. Hurston was there to record Cudjo's firsthand account of the raid that led to his capture and bondage fifty years after the Atlantic slave trade was outlawed in the United States. In 1931, Hurston returned to Plateau, the African-centric community three miles from Mobile founded by Cudjo and other former slaves from his ship. Spending more than three months there, she talked in depth with Cudjo about the details of his life. During those weeks, the young writer and the elderly formerly enslaved man ate peaches and watermelon that grew in the backyard and talked about Cudjo's past--memories from his childhood in Africa, the horrors of being captured and held in a barracoon for selection by American slavers, the harrowing experience of the Middle Passage packed with more than 100 other souls aboard the Clotilda, and the years he spent in slavery until the end of the Civil War. Based on those interviews, featuring Cudjo's unique vernacular, and written from Hurston's perspective with the compassion and singular style that have made her one of the preeminent American authors of the twentieth-century, Barracoon masterfully illustrates the tragedy of slavery and of one life forever defined by it. Offering insight into the pernicious legacy that continues to haunt us all, black and white, this poignant and powerful work is an invaluable contribution to our shared history and culture."--Publisher's website.

"Rumors of Thomas Jefferson's sexual involvement with his slave Sally Hemings have circulated for two centuries. It remains, among all aspects of Jefferson's renowned life, perhaps the most hotly contested topic. With Thomas Jefferson and Sally Hemings, Annette Gordon-Reed promises to intensify this ongoing debate as she identifies glaring inconsistencies in many noted scholars' evaluations of the existing evidence. She has assembled a fascinating and convincing argument: not that the alleged thirty-eight-year liaison necessarily took place but rather that the evidence for its taking place has been denied a fair hearing."--BOOK JACKET. "Possessing both a layperson's unfettered curiosity and a lawyer's logical mind, Annette Gordon-Reed writes with a style and compassion that are irresistible. Her analysis is accessible, with each chapter revolving around a key figure in the Hemings drama. The resulting portraits are engrossing and very personal. Gordon-Reed also brings a keen intuitive sense of the psychological complexities of human relationships - relationships that, in the real world, often develop regardless of status or race. The most compelling element of all, however, is her extensive and careful research, which often allows the evidence to speak for itself."--Jacket.

Thomas Jefferson is often portrayed as a hopelessly enigmatic figure -- a riddle -- a man so riven with contradictions that he is almost impossible to know. Lauded as the most articulate voice of American freedom and equality, even as he held people -- including his own family -- in bondage, Jefferson is variably described as a hypocrite, an atheist, or a simple-minded proponent of limited government who expected all Americans to be farmers forever. Now, Annette Gordon-Reed teams up with America's leading Jefferson scholar, Peter S. Onuf, to present a character study that dispels the many cliche��s that have accrued over the years about our third president. Challenging the widely prevalent belief that Jefferson remains so opaque as to be unknowable, the authors create a portrait of Jefferson, as he might have painted himself, one "comprised of equal parts sun and shadow." Tracing Jefferson's philosophical development from youth to old age, the authors explore what they call the "empire" of Jefferson's imagination -- an expansive state of mind born of his origins in a slave society, his intellectual influences, and the vaulting ambition that propelled him into public life as a modern avatar of the Enlightenment who, at the same time, likened himself to a figure of old -- "the most blessed of the patriarchs." Indeed, Jefferson saw himself as a "patriarch," not just to his country and mountain-like home at Monticello but also to his family, the white half that he loved so publicly, as well as to the black side that he claimed to love, a contradiction of extraordinary historical magnitude.