Black Victorians

Black Victorians/Black Victoriana is a welcome attempt to correct the historical record. Although scholarship has given us a clear view of nineteenth-century imperialism, colonialism, and later immigration from the colonies, there has for far too long been a gap in our understanding of the lives of blacks in Victorian England. Without that understanding, it remains impossible to assess adequately the state of the black population in Britain today. Using a transatlantic lens, the contributors to this book restore black Victorians to the British national picture. They look not just at the ways blacks were represented in popular culture but also at their lives as they experienced them--as workers, travelers, lecturers, performers, and professionals. Dozens of period photographs bring these stories alive and literally give a face to the individual stories the book tells. The essays taken as a whole also highlight prevailing Victorian attitudes toward race by focusing on the ways in which empire building spawned a "subculture of blackness" consisting of caricature, exhibition, representation, and scientific racism absorbed by society at large. This misrepresentation made it difficult to be both black and British while at the same time it helped to construct British identity as a whole. Covering many topics that detail the life of blacks during this period, Black Victorians/Black Victoriana will be a landmark contribution to the emergent field of black history in England.

Dark Victorians illuminates the cross-cultural influences between white Britons and black Americans during the Victorian age. In carefully analyzing literature and travel narratives by Ida B. Wells, Harriet Martineau, Charles Dickens, Frederick Douglass, Thomas Carlyle, W.E.B. Du Bois, and others, Vanessa D. Dickerson reveals the profound political, racial, and rhetorical exchanges between the groups. From the nineteenth-century black nationalist David Walker, who urged emigrating African Americans to turn to England, to the twentieth-century writer Maya Angelou, who recalls how those she knew in her childhood aspired to Victorian ideas of conduct, black Americans have consistently embraced Victorian England. At a time when scholars of black studies are exploring the relations between diasporic blacks, and postcolonialists are taking imperialism to task, Dickerson considers how Britons negotiated their support of African Americans with the controlling policies they used to govern a growing empire of often dark-skinned peoples, and how philanthropic and abolitionist Victorian discourses influenced black identity, prejudice, and racism in America.

"...looks at black life in 19th century Seattle from many angles. The combination of newspaper files, county records, and oral history gives a density to the historical picture." John Berry, Seattle Sun -- Back cover.

"The black presence in Victorian art is greater than may be supposed. Indeed, the expanding art market in the nineteenth century was largely based on British prosperity resulting from imperial commerce and conquest. It can therefore be said that Victorian art owes its existence to those who are relatively absent from its images. Black Victorians brings together over 100 images depicting black figures, to reveal the diversity of representation within nineteenth-century visual culture and to foreground the 'forgotten' presence of people of African descent in Victorian British art. The range of images is broad, from pictures of soldiers and sailors in Britain's armed forces and men and women in genre scenes to portraits of entertainers and political refugees and studies of artists' models. Notable individuals featured include actor Ira Aldridge, Crimean heroine Mary Seacole, the Queen's god-daughter Sarah Bonetta Davies, composer Samuel Coleridge-Taylor and Abolitionist leader Frederick Douglass. In addition to the fine arts of painting, drawing and sculpture, the selection includes photography, popular illustration, caricature and ephemera, which provide a cultural context for the portraits and subject pictures, as well as presenting black figures as members of British society in everyday settings. Many major artists of the period are represented, including Dante Gabriel Rossetti, William Holman Hunt, Edward Burne-Jones, Julia Margaret Cameron, Edgar Degas and J. A. M. Whistler. Many works are virtually unknown and collected here for the first time. Presenting an important opportunity to see and assess how black figures have been portrayed in British art, Black Victorians is an original and fascinating survey of a subject that has been given little coverage to date. It is essential reading for anyone wishing to seek a fresh perspective on a well-documented period of British history."--Book jacket.

Why did the Victorians collect with such a vengeance and exhibit in museums? Focusing on this key nineteenth-century enterprise, Barbara J. Black illuminates British culture of the period by examining the cultural power that this collecting and exhibiting possessed. Through its museums, she argues, Victorian London constructed itself as a world city. Using the tools of cultural criticism, social history, and literary analysis, Black roots Victorian museum culture in key political events and cultural forces: British imperialism, exploration, and tourism; advances in science and changing attitudes about knowledge; the commitment to improved public taste through mass education; the growth of middle-class dominance and the resulting bourgeois fetishism and commodity culture; and the democratization of luxury engendered by the French and industrial revolutions. She covers a wide range of genres--from poetry to museum guidebooks to the triple-decker novel--and treats three London museums as case studies: Sir John Soane's house-museum, the Natural History Museum, and the exemplary South Kensington. While On Exhibit provides a fascinating analysis of Victorian society, it also reminds us how modern the Victorians were--how, in crucial ways, our culture derives from the Victorian era. Forging connections among museums, urbanism, and modernity, Black provokes us to examine cultural imperialism and the costs and advantages of cultural consensus.

Black Neo-Victoriana is the first book-length study on contemporary re-imaginations of Blackness in the long nineteenth century. Contributions engage with novels, drama, film, television and material culture, while also covering cultural formations such as Black fandom, Black dandyism, or steamfunk.

Black Victorians shows how Black lives were visible, present and influential - not temporary presences but established and rooted; and how paradox and ambivalence characterised the Victorian view of race.

An African tightrope walker who can’t die gets embroiled in a secret society’s deadly gladiatorial tournament in this “bloodily spectacular” (Chloe Gong, New York Times bestselling author of These Violent Delights) historical fantasy set in an alternate 1880s London, perfect for fans of The Last Magician and The Gilded Wolves. As an African tightrope dancer in Victorian London, Iris is used to being strange. She is certainly an unusual sight for leering British audiences always eager for the spectacle of colonial curiosity. But Iris also has a secret that even “strange” doesn’t capture…​ She cannot die. Haunted by her unnatural power and with no memories of her past, Iris is obsessed with discovering who she is. But that mission gets more complicated when she meets the dark and alluring Adam Temple, a member of a mysterious order called the Enlightenment Committee. Adam seems to know much more about her than he lets on, and he shares with her a terrifying revelation: the world is ending, and the Committee will decide who lives…and who doesn’t. To help them choose a leader for the upcoming apocalypse, the Committee is holding the Tournament of Freaks, a macabre competition made up of vicious fighters with fantastical abilities. Adam wants Iris to be his champion, and in return he promises her the one thing she wants most: the truth about who she really is. If Iris wants to learn about her shadowy past, she has no choice but to fight. But the further she gets in the grisly tournament, the more she begins to remember—and the more she wonders if the truth is something best left forgotten.