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On February 25, 1946, in Columbia, Tennessee, a minor incident led to the first race riot in the United States after World War II, fomenting national outrage and involvement of numerous interested parties: Thurgood Marshall, Eleanor Roosevelt, the NAACP, the Communist Party, and the U.S. Department of Justice. Legal resolution of the Columbia riot at Mink Slide resulted in death, destruction, and surprising trial verdicts.
Southern Black Veterans of World War II returned home with changed personal and social perspectives. They chafed at the restrictions of segregation and resented entrapment in a subservient caste. Their new expectations contributed to unrest among citizens in rural Columbia, Tennessee, a seemingly bucolic town with a disturbign racial past.On February 25, 1946, a minor disagreement occurred between a white, politically connected store clerk and a black navy veteran ad his mother, This incidet led to the first race riot in the United States after the war, The riot, which took place in the back section of Colunbia known as Mik Slide, fometed ational outrage and involvement of numerous parties: Thurgood Marshall, Eleaor Roosevelt, The NAACP, The Communist Party, The US Department of Justice. Chaos and legal resolution of the Columbia riot resulted in death, destruction and surprising trial verdicts.
Gruesome photographs document the victims of lynchings and the society that allowed mob violence.
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.
Nearly 5,000 black Americans were lynched between 1890 and 1960. Over forty years later, Sherrilyn Ifill's On the Courthouse Lawn examines the numerous ways that this racial trauma still resounds across the United States. While the lynchings and their immediate aftermath were devastating, the little-known contemporary consequences, such as the marginalization of political and economic development for black Americans, are equally pernicious. On the Courthouse Lawn investigates how the lynchings implicated average white citizens, some of whom actively participated in the violence while many others witnessed the lynchings but did nothing to stop them. Ifill observes that this history of complicity has become embedded in the social and cultural fabric of local communities, who either supported, condoned, or ignored the violence. She traces the lingering effects of two lynchings in Maryland to illustrate how ubiquitous this history is and issues a clarion call for American communities with histories of racial violence to be proactive in facing this legacy today. Inspired by South Africa's Truth and Reconciliation Commission, as well as by techniques of restorative justice, Ifill provides concrete ideas to help communities heal, including placing gravestones on the unmarked burial sites of lynching victims, issuing public apologies, establishing mandatory school programs on the local history of lynching, financially compensating those whose family homes or businesses were destroyed in the aftermath of lynching, and creating commemorative public spaces. Because the contemporary effects of racial violence are experienced most intensely in local communities, Ifill argues that reconciliation and reparation efforts must also be locally based in order to bring both black and white Americans together in an efficacious dialogue. A landmark book, On the Courthouse Lawn is a much-needed and urgent road map for communities finally confronting lynching's long shadow by embracing pragmatic reconciliation and reparation efforts.
The hidden past of racial violence is illuminated in this skillfully selected compendium of articles from a wide range of papers large and small, radical and conservative, black and white. Through these pieces, readers witness a history of racial atrocities and are provided with a sobering view of American history.
Lynching was a national crime. But it obsessed the South. W. Fitzhugh Brundage's multidisciplinary approach to the complex nature of lynching delves into the such extrajudicial murders in two states: Virginia, the southern state with the fewest lynchings; and Georgia, where 460 lynchings made the state a measure of race relations in the Deep South. Brundage's analysis addresses three central questions: How can we explain variations in lynching over regions and time periods? To what extent was lynching a social ritual that affirmed traditional white values and white supremacy? And, what were the causes of the decline of lynching at the end of the 1920s? A groundbreaking study, Lynching in the New South is a classic portrait of the tradition of violence that poisoned American life.
The brutal lynching of two young black men in Marion, Indiana, on August 7, 1930, cast a shadow over the town that still lingers. It is only one event in the long and complicated history of race relations in Marion, a history much ignored and considered by many to be best forgotten. But the lynching cannot be forgotten. It is too much a part of the fabric of Marion, too much ingrained even now in the minds of those who live there. In Our Town journalist Cynthia Carr explores the issues of race, loyalty, and memory in America through the lens of a specific hate crime that occurred in Marion but could have happened anywhere. Marion is our town, America’s town, and its legacy is our legacy. Like everyone in Marion, Carr knew the basic details of the lynching even as a child: three black men were arrested for attempted murder and rape, and two of them were hanged in the courthouse square, a fate the third miraculously escaped. Meeting James Cameron–the man who’d survived–led her to examine how the quiet Midwestern town she loved could harbor such dark secrets. Spurred by the realization that, like her, millions of white Americans are intimately connected to this hidden history, Carr began an investigation into the events of that night, racism in Marion, the presence of the Ku Klux Klan–past and present–in Indiana, and her own grandfather’s involvement. She uncovered a pattern of white guilt and indifference, of black anger and fear that are the hallmark of race relations across the country. In a sweeping narrative that takes her from the angry energy of a white supremacist rally to the peaceful fields of Weaver–once an all-black settlement neighboring Marion–in search of the good and the bad in the story of race in America, Carr returns to her roots to seek out the fascinating people and places that have shaped the town. Her intensely compelling account of the Marion lynching and of her own family’s secrets offers a fresh examination of the complex legacy of whiteness in America. Part mystery, part history, part true crime saga, Our Town is a riveting read that lays bare a raw and little-chronicled facet of our national memory and provides a starting point toward reconciliation with the past. On August 7, 1930, three black teenagers were dragged from their jail cells in Marion, Indiana, and beaten before a howling mob. Two of them were hanged; by fate the third escaped. A photo taken that night shows the bodies hanging from the tree but focuses on the faces in the crowd—some enraged, some laughing, and some subdued, perhaps already feeling the first pangs of regret. Sixty-three years later, journalist Cynthia Carr began searching the photo for her grandfather’s face.
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.
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.