The 1619 Project

#1 NEW YORK TIMES BESTSELLER • NAACP IMAGE AWARD WINNER • A dramatic expansion of a groundbreaking work of journalism, The 1619 Project: A New Origin Story offers a profoundly revealing vision of the American past and present. FINALIST FOR THE KIRKUS PRIZE • ONE OF THE BEST BOOKS OF THE YEAR: The Washington Post, NPR, Esquire, Marie Claire, Electric Lit, Ms. magazine, Kirkus Reviews, Booklist In late August 1619, a ship arrived in the British colony of Virginia bearing a cargo of twenty to thirty enslaved people from Africa. Their arrival led to the barbaric and unprecedented system of American 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 source of so much that still defines the United States. The New York Times Magazine’s award-winning 1619 Project issue reframed our understanding of American history by placing slavery and its continuing legacy at the center of our national narrative. This book substantially expands on that work, weaving together eighteen essays that explore the legacy of slavery in present-day America with thirty-six poems and works of fiction that illuminate key moments of oppression, struggle, and resistance. The essays show how the inheritance of 1619 reaches into every part of contemporary American society, from politics, music, diet, traffic, and citizenship to capitalism, religion, and our democracy itself. This book that speaks directly to our current moment, contextualizing the systems of race and caste within which we operate today. It reveals long-glossed-over truths around our nation’s founding and construction—and the way that the legacy of slavery did not end with emancipation, but continues to shape contemporary American life. Featuring contributions from: Leslie Alexander • Michelle Alexander • Carol Anderson • Joshua Bennett • Reginald Dwayne Betts • Jamelle Bouie • Anthea Butler • Matthew Desmond • Rita Dove • Camille T. Dungy • Cornelius Eady • Eve L. Ewing • Nikky Finney • Vievee Francis • Yaa Gyasi • Forrest Hamer • Terrance Hayes • Kimberly Annece Henderson • Jeneen Interlandi • Honorée Fanonne Jeffers • Barry Jenkins • Tyehimba Jess • Martha S. Jones • Robert Jones, Jr. • A. Van Jordan • Ibram X. Kendi • Eddie Kendricks • Yusef Komunyakaa • Kevin M. Kruse • Kiese Laymon • Trymaine Lee • Jasmine Mans • Terry McMillan • Tiya Miles • Wesley Morris • Khalil Gibran Muhammad • Lynn Nottage • ZZ Packer • Gregory Pardlo • Darryl Pinckney • Claudia Rankine • Jason Reynolds • Dorothy Roberts • Sonia Sanchez • Tim Seibles • Evie Shockley • Clint Smith • Danez Smith • Patricia Smith • Tracy K. Smith • Bryan Stevenson • Nafissa Thompson-Spires • Natasha Trethewey • Linda Villarosa • Jesmyn Ward

The 1619 Project’s lyrical picture book in verse chronicles the consequences of slavery and the history of Black resistance in the United States, thoughtfully rendered by Pulitzer Prize-winning journalist Nikole Hannah-Jones and Newbery honor-winning author Renée Watson. A young student receives a family tree assignment in school, but she can only trace back three generations. Grandma gathers the whole family, and the student learns that 400 years ago, in 1619, their ancestors were stolen and brought to America by white slave traders. But before that, they had a home, a land, a language. She learns how the people said to be born on the water survived. And the people planted dreams and hope, willed themselves to keep living, living. And the people learned new words for love for friend for family for joy for grow for home. With powerful verse and striking illustrations by Nikkolas Smith, Born on the Water provides a pathway for readers of all ages to reflect on the origins of American identity.

It’s the New “Big Lie” According the New York Times’s “1619 Project,” America was not founded in 1776, with a declaration of freedom and independence, but in 1619 with the introduction of African slavery into the New World. Ever since then, the “1619 Project” argues, American history has been one long sordid tale of systemic racism. Celebrated historians have debunked this, more than two hundred years of American literature disproves it, parents know it to be false, and yet it is being promoted across America as an integral part of grade school curricula and unquestionable orthodoxy on college campuses. The “1619 Project” is not just bad history, it is a danger to our national life, replacing the idea, goal, and reality of American unity with race-based obsessions that we have seen play out in violence, riots, and the destruction of American monuments—not to mention the wholesale rewriting of America’s historical and cultural past. In her new book, Debunking the 1619 Project, scholar Mary Grabar, shows, in dramatic fashion, just how full of flat-out lies, distortions, and noxious propaganda the “1619 Project” really is. It is essential reading for every concerned parent, citizen, school board member, and policymaker.

”When I first weighed in upon the New York Times’ 1619 Project, I was struck by its conflicted messaging. Comprising an entire magazine feature and a sizable advertising budget, the newspaper’s initiative conveyed a serious attempt to engage the public in an intellectual exchange about the history of slavery in the United States and its lingering harms to our social fabric. It also seemed to avoid the superficiality of many public history initiatives, which all too often reduce over 400 complex years of slavery’s history and legacy to sweeping generalizations. Instead, the Times promised detailed thematic explorations of topics ranging from the first slave ship’s arrival in Jamestown, Virginia, in 1619 to the politics of race in the present day. At the same time, however, certain 1619 Project essayists infused this worthy line of inquiry with a heavy stream of ideological advocacy. Times reporter Nikole Hannah-Jones announced this political intention openly, pairing progressive activism with the initiative’s stated educational purposes. In assembling these essays, I make no claim of resolving what continues to be a vibrant and ongoing discussion. Neither should my work be viewed as the final arbiter of historical accuracy, though I do evaluate a number of factual and interpretive claims made by the project’s authors. Rather, the aim is to provide an accessible resource for readers wishing to navigate the scholarly disputes, offering my own interpretive take on claims pertaining to areas of history in which I have worked." -- Phil Magness

University Press returns with another short and captivating book - a brief history of The 1619 Project. In August of 1619, a pirate ship sailed its way through the still-warm waters of The Atlantic Ocean, heading north along the coast of North America, a continent that was then known to most Europeans as the New World. The ship arrived at Jamestown in the British colony of Virginia, carrying an expensive cargo that the pirates hoped to sell to the colonists - Africans. The ship's crew had stolen the 20 or 30 Africans from a Portuguese slave ship. And that slave ship had captured the men and women from an area of west Africa that would one day be Angola. Thus began a 250-year history of slavery in a land that would later become the United States of America. In August of 2019, on the 400-year anniversary of the introduction of African slavery to America, The New York Times Magazine released a 100-page spread called The 1619 Project, a collection of essays and profiles that discusses the history and legacy of slavery in America and, in the words of its authors, "aims to reframe the country's history by placing the consequences of slavery and the contributions of Black Americans at the very center of the United States' national narrative." But this bold reframing of America's history has attracted withering criticism, generated intense controversy, and stimulated a fierce national debate. This short book peels back the veil and provides a clear-eyed glimpse into the explosive history of The 1619 Project - a glimpse that you can read in about an hour.

When and where was America founded? Was it in Virginia in 1619, when a pirate ship landed a group of captive Africans at Jamestown? So asserted the New York Times in August 2019 when it announced its 1619 Project. The Times set out to transform history by tracing American institutions, culture, and prosperity to that pirate ship and the exploitation of African Americans that followed. A controversy erupted, but the Times didn't back down. Instead, the authors ballooned their original magazine supplement into a 600-page book. Peter Wood offers a point-by-point response to the 1619 Project in this volume. He argues that the proper starting point for the American story is 1620, with the signing of the Mayflower Compact aboard ship before the Pilgrims set foot in the wilderness of the New World. The quintessential American ideas of self-government and ordered liberty grew from the deliberate actions of those Mayflower immigrants. In this new edition of 1620, Wood brings the story up to date, including the glittering prizes for 1619 pseudohistory, the deepening disputes, and the roles played by Presidents Trump and Biden. Much of the controversy involves education. Schools across the country raced to adopt the Times' radical revision of history as part of their curricula. Parents in many districts have rebelled. Should children be taught that America is a 400-year-old system of racist oppression? No, says Wood, our nation's future depends on our children learning a true history centered on what has always made America exceptional: our pursuit of liberty and justice for all.

“Traces the history of abolition from the 1600s to the 1860s . . . a valuable addition to our understanding of the role of race and racism in America.”—Florida Courier Received historical wisdom casts abolitionists as bourgeois, mostly white reformers burdened by racial paternalism and economic conservatism. Manisha Sinha overturns this image, broadening her scope beyond the antebellum period usually associated with abolitionism and recasting it as a radical social movement in which men and women, black and white, free and enslaved found common ground in causes ranging from feminism and utopian socialism to anti-imperialism and efforts to defend the rights of labor. Drawing on extensive archival research, including newly discovered letters and pamphlets, Sinha documents the influence of the Haitian Revolution and the centrality of slave resistance in shaping the ideology and tactics of abolition. This book is a comprehensive history of the abolition movement in a transnational context. It illustrates how the abolitionist vision ultimately linked the slave’s cause to the struggle to redefine American democracy and human rights across the globe. “A full history of the men and women who truly made us free.”—Ira Berlin, The New York Times Book Review “A stunning new history of abolitionism . . . [Sinha] plugs abolitionism back into the history of anticapitalist protest.”—The Atlantic “Will deservedly take its place alongside the equally magisterial works of Ira Berlin on slavery and Eric Foner on the Reconstruction Era.”—The Wall Street Journal “A powerfully unfamiliar look at the struggle to end slavery in the United States . . . as multifaceted as the movement it chronicles.”—The Boston Globe

This is one of Shakespeare’s darkest comedies, for the romantic story of a young man, Bassanio, who has squandered his fortune and must borrow money to woo the wealthy lady he loves is set against the more disturbing story of the Jewish moneylender Shylock and his demand for the “pound of flesh” owed him by the Venetian merchant, Antonio. Here pathos and farce combine with moral complexity and romantic entanglement to display the extraordinary power and range of Shakespeare at his best. Each Edition Includes: • Comprehensive explanatory notes • Vivid introductions and the most up-to-date scholarship • Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English • Completely updated, detailed bibliographies and performance histories • An interpretive essay on film adaptations of the play, along with an extensive filmography