The Illustrated Slave

From the 1787 Wedgwood antislavery medallion featuring the image of an enchained and pleading black body to Quentin Tarantino’s Django Unchained (2012) and Steve McQueen’s Twelve Years a Slave (2013), slavery as a system of torture and bondage has fascinated the optical imagination of the transatlantic world. Scholars have examined various aspects of the visual culture that was slavery, including its painting, sculpture, pamphlet campaigns, and artwork. Yet an important piece of this visual culture has gone unexamined: the popular and frequently reprinted antislavery illustrated books published prior to Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852) that were utilized extensively by the antislavery movement in the first half of the nineteenth century. The Illustrated Slave analyzes some of the more innovative works in the archive of antislavery illustrated books published from 1800 to 1852 alongside other visual materials that depict enslavement. Martha J. Cutter argues that some illustrated narratives attempt to shift a viewing reader away from pity and spectatorship into a mode of empathy and interrelationship with the enslaved. She also contends that some illustrated books characterize the enslaved as obtaining a degree of control over narrative and lived experiences, even if these figurations entail a sense that the story of slavery is beyond representation itself. Through exploration of famous works such as Uncle Tom’s Cabin, as well as unfamiliar ones by Amelia Opie, Henry Bibb, and Henry Box Brown, she delineates a mode of radical empathy that attempts to destroy divisions between the enslaved individual and the free white subject and between the viewer and the viewed.

History of Slavery tells the story of the development of slavery, describing the trans-Atlantic trade that brought 11 million slaves from Africa to the Americas in the course of 300 years and reviews the life of the slaves under the forcible subjugation and exploitation by other human beings. In strictly objective terms, this book deals with the historical controversies that have surrounded the study of slavery. Illustrated with over 300 pictures, including 40 in full color, drawn from archives around the world to highlight vital facets of the subject; it also includes eyewitness accounts and other documentary evidence that complement the text. The book also traces the history of the abolition movement, beginning in eighteenth-century England (one of the prime moves in establishing the slave trade in the fifteenth and sixteenth centuries). This humanitarian philosophy is now taken for granted (at least officially) by every nation on earth. The author, Susanne Everett, also reviews those societies that did not readily accept abolition - the Arabs, who ravaged East Africa for slaves until well into this century, the Belgians, who initiated a reign of terror in the Congo in the late nineteenth century, and the Southerners who struggled to preserve their dominant position through the confrontations of Civil Rights. The book concludes with a reminder that slavery remains a vital issue today. Slave labor was imposed by the Russians and Germans during the Second World War and there are isolated instances - in South America and parts of Africa - that require continued policing by Anti-Slavery Commission of the United Nations.History of Slavery is a comprehensive, thoroughly illustrated account of human bondage, and an essential volume for everyone concerned with society and man's part in it.

The Blind African Slave recounts the life of Jeffrey Brace (né Boyrereau Brinch), who was born in West Africa around 1742. Captured by slave traders at the age of sixteen, Brace was transported to Barbados, where he experienced the shock and trauma of slave-breaking and was sold to a New England ship captain. After fighting as an enslaved sailor for two years in the Seven Years War, Brace was taken to New Haven, Connecticut, and sold into slavery. After several years in New England, Brace enlisted in the Continental Army in hopes of winning his manumission. After five years of military service, he was honorably discharged and was freed from slavery. As a free man, he chose in 1784 to move to Vermont, the first state to make slavery illegal. There, he met and married an African woman, bought a farm, and raised a family. Although literate, he was blind when he decided to publish his life story, which he narrated to a white antislavery lawyer, Benjamin Prentiss, who published it in 1810. Upon his death in 1827, Brace was a well-respected abolitionist. In this first new edition since 1810, Kari J. Winter provides a historical introduction, annotations, and original documents that verify and supplement our knowledge of Brace's life and times.

In 1770, the slave Esperança Garcia bravely penned a letter to the governor of Piauí state, in Brazil, describing how she and her children were being mistreated and requesting permission to return to the farm where the rest of her family was living. Before she wrote her letter, Esperança Garcia lived on a cotton farm run by Jesuit priests, where she learned to read and write — a rare opportunity for a woman, especially a slave. But one day she was separated from her husband and older children and taken with her two little ones to be a cook in the home of Captain Antonio Vieira de Couto, where she and the other slaves were beaten and denied even the freedom to attend church. In despair, Esperança Garcia wrote to the governor about her terrible situation, asking if she and her young children could return to the farm. She waited each day for a reply, never giving up hope. And although she never received an answer, she is remembered today for being the courageous slave who wrote the first letter of appeal in Afro-Brazilian Brazil. Commemorating the date of the letter’s discovery, September 6th has become Black Consciousness Day in Piauí state. Beautifully illustrated, this moving picture book provides a very personal look at the tragic history of slavery in the Americas.

Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica is among the first Slavery Studies books - and the first in Art History - to juxtapose temperate and tropical slavery. Charmaine A. Nelson explores the central role of geography and its racialized representation as landscape art in imperial conquest. One could easily assume that nineteenth-century Montreal and Jamaica were worlds apart, but through her astute examination of marine landscape art, the author re-connects these two significant British island colonies, sites of colonial ports with profound economic and military value. Through an analysis of prints, illustrated travel books, and maps, the author exposes the fallacy of their disconnection, arguing instead that the separation of these colonies was a retroactive fabrication designed in part to rid Canada of its deeply colonial history as an integral part of Britain's global trading network which enriched the motherland through extensive trade in crops produced by enslaved workers on tropical plantations. The first study to explore James Hakewill's Jamaican landscapes and William Clark's Antiguan genre studies in depth, it also examines the Montreal landscapes of artists including Thomas Davies, Robert Sproule, George Heriot and James Duncan. Breaking new ground, Nelson reveals how gender and race mediated the aesthetic and scientific access of such - mainly white, male - artists. She analyzes this moment of deep political crisis for British slave owners (between the end of the slave trade in 1807 and complete abolition in 1833) who employed visual culture to imagine spaces free of conflict and to alleviate their pervasive anxiety about slave resistance. Nelson explores how vision and cartographic knowledge translated into authority, which allowed colonizers to 'civilize' the terrains of the so-called New World, while belying the oppression of slavery and indigenous displacement.

The 32 reminiscences presented here provide insight into the lives of the enslaved, including recollections of being sold away from parents, suffering harsh punishment by overseers, and living in misery.

DIVMore than 2,000 former slaves provide first-person accounts in blunt, simple language about their lives in bondage. Illuminating, often startling information about southern life before, during, and after the Civil War. /div

The little-known life of York, the African American man enslaved by William Clark, and his contributions to the success of the Lewis and Clark expedition are examined in this carefully crafted Society of School Librarians International Honor Book. Award-winning author Laurence Pringle gives an accurate account of York's life—before, during, and after the expedition. Using quotations from the expedition's journals, he tells how York's skills, strength, and intelligence helped in the day-to-day challenges of the journey. Artists Cornelius Van Wright and Ying-Hwa Hu consulted with a Lewis and Clark expert to create thoroughly researched and stunning watercolor paintings of York's life.