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A history of lynching in America over the course of three centuries, from colonial Virginia to twentieth-century Texas. After observing the varying reactions to the 1998 death of James Byrd Jr. in Texas, called a lynching by some, denied by others, Ashraf Rushdy determined that to comprehend this event he needed to understand the long history of lynching in the United States. In this meticulously researched and accessibly written interpretive history, Rushdy shows how lynching in America has endured, evolved, and changed in meaning over the course of three centuries, from its origins in early Virginia to the present day. “A work of uncommon breadth, written with equally uncommon concision. Excellent.” —N. D. B. Connolly, Johns Hopkins University “Provocative but careful, opinionated but persuasive . . . Beyond synthesizing current scholarship, he offers a cogent discussion of the evolving definition of lynching, the place of lynchers in civil society, and the slow-in-coming end of lynching. This book should be the point of entry for anyone interested in the tragic and sordid history of American lynching.” —W. Fitzhugh Brundage, author of Lynching in the New South: Georgia and Virginia, 1880-1930 “A sophisticated and thought-provoking examination of the historical relationship between the American culture of lynching and the nation’s political traditions. This engaging and wide-ranging meditation on the connection between democracy, lynching, freedom, and slavery will be of interest to those in and outside of the academy.” —William Carrigan, Rowan University “In this sobering account, Rushdy makes clear that the cultural values that authorize racial violence are woven into the very essence of what it means to be American. This book helps us make sense of our past as well as our present.” —Jonathan Holloway, Yale University
Living with Lynching: African American Lynching Plays, Performance, and Citizenship, 1890–1930 demonstrates that popular lynching plays were mechanisms through which African American communities survived actual and photographic mob violence. Often available in periodicals, lynching plays were read aloud or acted out by black church members, schoolchildren, and families. Koritha Mitchell shows that African Americans performed and read the scripts in community settings to certify to each other that lynching victims were not the isolated brutes that dominant discourses made them out to be. Instead, the play scripts often described victims as honorable heads of households being torn from model domestic units by white violence. In closely analyzing the political and spiritual uses of black theatre during the Progressive Era, Mitchell demonstrates that audiences were shown affective ties in black families, a subject often erased in mainstream images of African Americans. Examining lynching plays as archival texts that embody and reflect broad networks of sociocultural activism and exchange in the lives of black Americans, Mitchell finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens. The Left of Black interview with author Koritha Mitchell begins at 14:00. An interview with Koritha Mitchell at The Ohio Channel.
This incisive study takes on one of the grimmest secrets in America's national life—the history of lynching and, more generally, the public punishment of African Americans. Jacqueline Goldsby shows that lynching cannot be explained away as a phenomenon peculiar to the South or as the perverse culmination of racist politics. Rather, lynching—a highly visible form of social violence that has historically been shrouded in secrecy—was in fact a fundamental part of the national consciousness whose cultural logic played a pivotal role in the making of American modernity. To pursue this argument, Goldsby traces lynching's history by taking up select mob murders and studying them together with key literary works. She focuses on three prominent authors—Ida B. Wells-Barnett, Stephen Crane, and James Weldon Johnson—and shows how their own encounters with lynching influenced their analyses of it. She also examines a recently assembled archive of evidence—lynching photographs—to show how photography structured the nation's perception of lynching violence before World War I. Finally, Goldsby considers the way lynching persisted into the twentieth century, discussing the lynching of Emmett Till in 1955 and the ballad-elegies of Gwendolyn Brooks to which his murder gave rise. An empathic and perceptive work, A Spectacular Secret will make an important contribution to the study of American history and literature.
Winner of the 2020 Rhetoric Society of America Book Award While victims of antebellum lynchings were typically white men, postbellum lynchings became more frequent and more intense, with the victims more often black. After Reconstruction, lynchings exhibited and embodied links between violent collective action, American civic identity, and the making of the nation. Ersula J. Ore investigates lynching as a racialized practice of civic engagement, in effect an argument against black inclusion within the changing nation. Ore scrutinizes the civic roots of lynching, the relationship between lynching and white constitutionalism, and contemporary manifestations of lynching discourse and logic today. From the 1880s onward, lynchings, she finds, manifested a violent form of symbolic action that called a national public into existence, denoted citizenship, and upheld political community. Grounded in Ida B. Wells’s summation of lynching as a social contract among whites to maintain a racial order, at its core, Ore’s book speaks to racialized violence as a mode of civic engagement. Since violence enacts an argument about citizenship, Ore construes lynching and its expressions as part and parcel of America’s rhetorical tradition and political legacy. Drawing upon newspapers, official records, and memoirs, as well as critical race theory, Ore outlines the connections between what was said and written, the material practices of lynching in the past, and the forms these rhetorics and practices assume now. In doing so, she demonstrates how lynching functioned as a strategy interwoven with the formation of America’s national identity and with the nation’s need to continually restrict and redefine that identity. In addition, Ore ties black resistance to lynching, the acclaimed exhibit Without Sanctuary, recent police brutality, effigies of Barack Obama, and the killing of Trayvon Martin.
In recent decades, scholars have explored much of the history of mob violence in the American South, especially in the years after Reconstruction. However, the lynching violence that occurred in American regions outside the South, where hundreds of persons, including Hispanics, whites, African Americans, Native Americans, and Asian Americans died at the hands of lynch mobs, has received less attention. This collection of essays by prominent and rising scholars fills this gap by illuminating the factors that distinguished lynching in the West, the Midwest, and the Mid-Atlantic. The volume adds to a more comprehensive history of American lynching and will be of interest to all readers interested in the history of violence across the varied regions of the United States. Contributors are Jack S. Blocker Jr., Brent M. S. Campney, William D. Carrigan, Sundiata Keita Cha-Jua, Dennis B. Downey, Larry R. Gerlach, Kimberley Mangun, Helen McLure, Michael J. Pfeifer, Christopher Waldrep, Clive Webb, and Dena Lynn Winslow.
Lynch mobs in late nineteenth- and early twentieth-century America exacted horrifying public torture and mutilation on their victims. In Lynching and Spectacle, Amy Wood explains what it meant for white Americans to perform and witness these sadistic spectacles and how lynching played a role in establishing and affirming white supremacy. Lynching, Wood argues, overlapped with a variety of cultural practices and performances, both traditional and modern, including public executions, religious rituals, photography, and cinema, all which encouraged the horrific violence and gave it social acceptability. However, she also shows how the national dissemination of lynching images ultimately fueled the momentum of the antilynching movement and the decline of the practice. Using a wide range of sources, including photos, newspaper reports, pro- and antilynching pamphlets, early films, and local city and church records, Wood reconfigures our understanding of lynching's relationship to modern life. Wood expounds on the critical role lynching spectacles played in establishing and affirming white supremacy at the turn of the century, particularly in towns and cities experiencing great social instability and change. She also shows how the national dissemination of lynching images fueled the momentum of the antilynching movement and ultimately led to the decline of lynching. By examining lynching spectacles alongside both traditional and modern practices and within both local and national contexts, Wood reconfigures our understanding of lynching's relationship to modern life.
Gruesome photographs document the victims of lynchings and the society that allowed mob violence.
The End of American Lynching questions how we think about the dynamics of lynching, what lynchings mean to the society in which they occur, how lynching is defined, and the circumstances that lead to lynching. Ashraf H. A. Rushdy looks at three lynchings over the course of the twentieth century—one in Coatesville, Pennsylvania, in 1911, one in Marion, Indiana, in 1930, and one in Jasper, Texas, in 1998—to see how Americans developed two distinct ways of thinking and talking about this act before and after the 1930s. One way takes seriously the legal and moral concept of complicity as a way to understand the dynamics of a lynching; this way of thinking can give us new perceptions into the meaning of mobs and the lynching photographs in which we find them. Another way, which developed in the 1940s and continues to influence us today, uses a strategy of denial to claim that lynchings have ended. Rushdy examines how the denial of lynching emerged and developed, providing insight into how and why we talk about lynching the way we do at the dawn of the twenty-first century. In doing so, he forces us to confront our responsibilities as American citizens and as human beings.
This visual and textual study of lynchings that took place in California between 1850 and 1935 shows that race-based lynching in the United States reached far beyond the South.