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For a brief moment in the summer of 1900, Robert Charles was arguably the most infamous black man in the United States. After an altercation with police on a New Orleans street, Charles killed two police officers and fled. During a manhunt that extended for days, violent white mobs roamed the city, assaulting African Americans and killing at least half a dozen. When authorities located Charles, he held off a crowd of thousands for hours before being shot to death. The notorious episode was reported nationwide; years later, fabled jazz pianist Jelly Roll Morton recalled memorializing Charles in song. Yet today, Charles is almost entirely invisible in the traditional historical record. So who was Robert Charles, really? An outlaw? A black freedom fighter? And how can we reconstruct his story? In this fascinating work, K. Stephen Prince sheds fresh light on both the history of the Robert Charles riots and the practice of history-writing itself. He reveals evidence of intentional erasures, both in the ways the riot and its aftermath were chronicled and in the ways stories were silenced or purposefully obscured. But Prince also excavates long-hidden facts from the narratives passed down by white and black New Orleanians over more than a century. In so doing, he probes the possibilities and limitations of the historical imagination.
For a brief moment in the summer of 1900, Robert Charles was arguably the most infamous black man in the United States. After an altercation with police on a New Orleans street, Charles killed two police officers and fled. During a manhunt that extended for days, violent white mobs roamed the city, assaulting African Americans and killing at least half a dozen. When authorities located Charles, he held off a crowd of thousands for hours before being shot to death. The notorious episode was reported nationwide; years later, fabled jazz pianist Jelly Roll Morton recalled memorializing Charles in song. Yet today, Charles is almost entirely invisible in the traditional historical record. So who was Robert Charles, really? An outlaw? A black freedom fighter? And how can we reconstruct his story? In this fascinating work, K. Stephen Prince sheds fresh light on both the history of the Robert Charles riots and the practice of history-writing itself. He reveals evidence of intentional erasures, both in the ways the riot and its aftermath were chronicled and in the ways stories were silenced or purposefully obscured. But Prince also excavates long-hidden facts from the narratives passed down by white and black New Orleanians over more than a century. In so doing, he probes the possibilities and limitations of the historical imagination.
One July week in 1900 an obscure black laborer named Robert Charles drew national headlines when he shot twenty-seven whites—including seven policemen—in a series of encounters with the New Orleans police. An avid supporter of black emigration, Charles believed it foolish to rely on southern whites to uphold the law or to acknowledge even minimal human rights for blacks. He therefore systematically armed himself, manufacturing round after round of his own ammunition before undertaking his intentionally symbolic act of violent resistance. After the shootings, Charles became an instant hero among some blacks, but to most people he remained a mysterious and sinister figure who had promoted a “back-to-Africa” movement. Few knew anything about his early life. This biography of Charles follows him from childhood in a Mississippi sharecropper’s cabin to his violent death on New Orleans’s Saratoga Street. With the few clues available, William Ivy Hair has pieced together the story of a man whose life spanned the thirty-four years from emancipation to 1900—a man who tried to achieve dignity and self-respect in a time when people of his race could not exhibit such characteristics without fear of reprisal. Hair skillfully penetrates the world of Robert Charles, the communities in which he lived, and the daily lives of dozens of people, white and black, who were involved in his experience. A new foreword by W. Fitzhugh Brundage sets this unique and innovative biography in the context of its time and demonstrates its relevance today.
"For a brief moment in the summer of 1900, Robert Charles was arguably the most infamous black man in the United States. After an altercation with police on a New Orleans street, Charles killed two police officers and fled. During a manhunt that extended for days, violent white mobs roamed the city, assaulting African Americans and killing at least half a dozen. When authorities located Charles, he held off a crowd of thousands for hours before being shot to death. The notorious episode was reported nationwide; years later, fabled jazz pianist Jelly Roll Morton recalled memorializing Charles in song. Yet today, Charles is almost entirely invisible in the traditional historical record. So who was Robert Charles, really? An outlaw? A Black freedom fighter? And how can we reconstruct his story? In this fascinating work, K. Stephen Prince sheds fresh light not only on the practice of history-writing itself. Prince reveals evidence of intentional erasures, both in the ways the riot and its aftermath were chronicled and in the ways stories were left untold or purposefully obscured. But Prince also excavates long-hidden facts from the narratives passed down by white and Black New Orleanians over more than a century. In so doing, he probes the possibilities and limitations of the historical imagination"--
In the immediate aftermath of the Civil War, the North assumed significant power to redefine the South, imagining a region rebuilt and modeled on northern society. The white South actively resisted these efforts, battling the legal strictures of Reconstruction on the ground. Meanwhile, white southern storytellers worked to recast the South's image, romanticizing the Lost Cause and heralding the birth of a New South. Prince argues that this cultural production was as important as political competition and economic striving in turning the South and the nation away from the egalitarian promises of Reconstruction and toward Jim Crow.
This handbook offers a comprehensive historical overview and analysis of police brutality in US history and the variety of ways it has manifested itself. Police brutality has been a defining controversy of the modern age, brought into focus most readily by the murder of George Floyd in Minneapolis and the mass protests that occurred as a result in 2020. However, the problem of police brutality has been consistent throughout American history. This volume traces its history back to Antebellum slavery, through the Gilded Age, the Progressive Era, the two world wars and the twentieth century, to the present day. This handbook is designed to create a generally holistic picture of the phenomenon of police brutality in the United States in all of its major lived forms and confronts a wide range of topics including: Race Ethnicity Gender Police reactions to protest movements (particularly as they relate to the counterculture and opposition to the Vietnam War) Legal and legislative outgrowths against police brutality The representations of police brutality in popular culture forms like film and music The role of technology in publicizing such abuses, and the protest movements mounted against it The Routledge History of Police Brutality in America will provide a vital reference work for students and scholars of American history, African American history, criminal justice, sociology, anthropology, and Africana studies.
Countee Cullen uses the traditional structure of the medieval ballad to retell a legend about an English lord who must choose between a Black bride and a white one, with deadly results. In a letter, the author described the poem as "quite a gruesome affair with no less than three murders in it. It is founded on an old song which every colored Kentuckian knows."
Since the 1960s, an international group of artists has embraced slide projection as a dynamic alternative to the tradition of painting, blending aspects of photography, film, and installation art. Slide Show is the first in-depth examination of how slides evolved into one of the most exciting art forms of our time. Essays by leading scholars and 200 color illustrations provide visual, historical, and critical insight into this unique medium.
This comprehensive two-volume encyclopedia documents how Populism, which grew out of post-Civil War agrarian discontent, was the apex of populist impulses in American culture from colonial times to the present. The Populist Movement was founded in the late 1800s when farmers and other agrarian workers formed cooperative societies to fight exploitation by big banks and corporations. Today, Populism encompasses both right-wing and left-wing movements, organizations, and icons. This valuable encyclopedia examines how ordinary people have voiced their opposition to the prevailing political, economic, and social constructs of the past as well how the elite or leaders at the time have reacted to that opposition. The entries spotlight the people, events, organizations, and ideas that created this first major challenge to the two-party system in the United States. Additionally, attention is paid to important historical actors who are not traditionally considered "Populist" but were instrumental in paving the way for the movement—or vigorously resisted Populism's influence on American culture. This encyclopedia also shows that Populism as a specific movement, and populism as an idea, have served alternately to further equal rights in America—and to limit them.
One of NPR's Best Books of 2016, winner of the Shirley Jackson Award, the British Fantasy Award, the This is Horror Award for Novella of the Year, and a finalist for the Hugo, Nebula, Locus, World Fantasy, and Bram Stoker Awards People move to New York looking for magic and nothing will convince them it isn't there. Charles Thomas Tester hustles to put food on the table, keep the roof over his father's head, from Harlem to Flushing Meadows to Red Hook. He knows what magic a suit can cast, the invisibility a guitar case can provide, and the curse written on his skin that attracts the eye of wealthy white folks and their cops. But when he delivers an occult tome to a reclusive sorceress in the heart of Queens, Tom opens a door to a deeper realm of magic, and earns the attention of things best left sleeping. A storm that might swallow the world is building in Brooklyn. Will Black Tom live to see it break? "LaValle's novella of sorcery and skullduggery in Jazz Age New York is a magnificent example of what weird fiction can and should do." — Laird Barron, author of The Beautiful Thing That Awaits Us All "[LaValle] reinvents outmoded literary conventions, particularly the ghettos of genre and ethnicity that long divided serious literature from popular fiction." — Praise for The Devil in Silver from Elizabeth Hand, author of Radiant Days “LaValle cleverly subverts Lovecraft’s Cthulhu mythos by imbuing a black man with the power to summon the Old Ones, and creates genuine chills with his evocation of the monstrous Sleeping King, an echo of Lovecraft’s Dagon... [The Ballad of Black Tom] has a satisfying slingshot ending.” – Elizabeth Hand for Fantasy & ScienceFiction At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.