Author: Pat Backley
Print Length: 190 Pages
Publisher: Pat Backley
Publication Date: October 8, 2020
I have not read a book I could not wait to get back to in a while. Daisy is one of those books.
Daisy is a Historical Fiction story from 1887 to 1974. The prologue is short but expertly ties the entire story together. A white hand is on top of a little black hand in a field of flowers. The woman and the little girl are making daisy chains.
“Mum, why am I called Daisy?”
Set in Alabama, Harlem, and London, the author takes us through time, starting in 1887 and ending in 1974 in that field of Daisy’s with the same question from the little black girl. Only now, we understand why her name is Daisy and why the hand on top of hers is white.
The author’s strength here is her character development. Although there were many sudden tragedies, the author did such an excellent job with their backgrounds and personalities that the reader is genuinely interested in them and grieve their loss.
This is a family story, and I loved most how the author tied everyone together with the historical backdrop. There are descendants of the enslaved whose lives weave with descendants of slaveowners and poor white Londoners the author interweaves with poor black Americans’ lives. The exciting part about books (and movies) like this is all the tension built up between the families and wondering when everyone will meet up with one another!
As the author detailed their lives, I knew they would intersect at some point, and I was eager to see how it would all play out. It was like reading about a generation of people all connected in a six-degrees of separation kind of way – that all people on average are six or fewer, social connections away from each other.
An example of this in the book is when Samuel, Winifred, and Jeremey Davis, the black family from Harlem, moved to London in 1952. Leading up to this, we have already met the white family in London (because the author starts in 1887 and moves time forward). Thus, the anticipation is already there as to which of Polly’s descendants will meet one of the Davis’s. Little Jeremy was five years old in 1952, but by the time he is an adult, he meets one of the great-great-great granddaughters of the London family, and they marry, giving birth to the little girl from the prologue.
It’s juicy ya’ll!
The author does a good job of recounting the family’s past throughout, so it continually reminds the reader of how it all started and how everyone is connected. The overall message of the book seems to be that it does not matter if you are rich or poor, slave or free, black or white; we are all part of the human family, a family that would flourish much more smoothly if biases like racism, sexism, and classism did not exist.
“Being born poor was a scar that never faded.”
“She had never experienced racial hatred first hand, so had no real idea of how it could erode a person’s whole life.”
Today, she provides insight into the book, To Shoot Hard Labour: The Life and Times of Samuel Smith, an Antiguan Workingman 1877-1982.
A Long Preamble
The full title of To Shoot Hard Labour, which I was first introduced to as a secondary school student and have referenced in the years since, is To Shoot Hard Labour: The Life and Times of Samuel Smith, an Antiguan Workingman 1877-1982 (first printing 1986).
You may immediately pick up that the title structure is reminiscent of the true-to-life literary genre known as the slave narrative. Famous examples of which include Twelve Years a Slave, Narrative of Solomon Northup, a citizen of New York, kidnapped in Washington City in 1841 and rescued in 1853 from a Cotton Plantation near the Red River in Louisiana (published 1859). Additionally, Narrative of the Life of Frederick Douglass, an American Slave, written by himself (published 1845 by the anti-slavery office in Boston); and The History of Mary Prince, a West Indian Slave, related by Herself (published in England in 1831).
The subject and author of the last of these spent some of her time in enslavement in Antigua, where I live, the locale of the post-slavery narrative told by Samuel Smith to his grandchildren, co-authors Keithlyn and Fernando Smith.
The slave narrative emerged in the colonial era as a genre and a tool of the anti-slavery movement concerned with dismantling chattel slavery in the Americas – other references will say North America, but I am being very specific.
It shouldn’t need to be said in 2020 with all the material (e.g., slave narratives) at our disposal, but chattel slavery – the brutal multi-generational-generational-generational form of human trafficking and enslavement of Africans fed by the trans-Atlantic slave trade and the need (read: greed) for labour for the mass production of sugar and cotton that built the European and North American (meaning the USA) economies – happened across the hemisphere known as the Americas. The Americas includes North and South America and the Caribbean. Historically, this is the so-called ‘New World’ over which European powers fought and which they colonized over hundreds of years – beginning with Columbus’ wrong turn at Hispaniola, modern-day Haiti (French), and the Dominican Republic (Spanish) in 1492.
The first enslaved Africans arrived in the New World in the 1500s. To Shoot Hard Labour, in its sweeping introduction, spoke of Las Casas, the Catholic priest known as the protector of the ‘Indians’, the Kalinago (called Caribs by the Europeans who in the history books I read as a child were described as ‘fierce’ and ‘warlike’) and other indigenous groups being exterminated for European profit, who proposed that the colonizers look instead to Africa for labour. In this introduction, it said the first enslaved Africans landed in the New (to the colonizers) World in 1502.
The Old World powers of England, Spain, France, Portugal, the Netherlands (Dutch) divvied up and dominated Africa (which they mined of her natural and human resources) and the colonies they claimed in the New World, often through violence. England emerged as a superpower – an empire upon which the sun never set, into the 20th century, until its former colony, America, which had greatly expanded its fortunes and influence since declaring its Independence in 1776, rose to take that spot. Forgive me for being hand wave-y on the details of globalization; I intend this as a discussion of the book To Shoot Hard Labour, not a New World history.
However, I am writing this in the summer of 2020, a summer in which the newly announced Vice Presidential hopeful on the US Democratic party ticket, Kamala Harris, is US (i.e., North American) born to a father from Jamaica and a mother from India. The fact that these are both former colonies of England and that Jamaica was, like the entire Caribbean, a chattel slavery colony is not the point, but it is not irrelevant. Harris’ Blackness, and her connection to the struggles of Black people who have fought their way from slavery to freedom and beyond, have been called in to question with sentiments like “She’s not Black. She’s Jamaican.”
If you know the New World history, you know that Blackness and Jamaica are not mutually exclusive. The English speaking Caribbean, including Jamaica, and other non-English speaking former colonies, are majority Black and have been for centuries at the forefront of anti-slavery, labour rights, and independence movements, and for decades at the forefront of the reparations movement specific to the injustices of chattel slavery.
It is a movement that has been centered in American discourse this election cycle – and we love to see it – because it’s all about reparative justice. This is something that should unite, not separate us. We are diasporically – through our ties to a common motherland, Africa, and the inheritance of a common brutal experience here in the New World – family. But here we are, and it needs to be said – some of the most brutal forms of chattel slavery existed in the Caribbean, and the post-slavery narrative To Shoot Hard Labour is one man’s testimony.
The genre known as the slavery narrative grew out of the lived experience of enslaved (and formerly enslaved) people, some 6000 of them across North America and the Caribbean through the 18th and 19th centuries. They were autobiographical and, given their use as an anti-abolitionist tool, emphasized the struggle, with religion and progress being recurring motifs. As with many slave narratives, To Shoot Hard Labour is an ‘as told to’ and Papa Sammy ends by telling his grandsons, “I hope that you will write down exactly what I am telling you. If you do, the people will see how far down in the mud arwe come from.” (p. 162)
To Shoot Hard Labour veers from your traditional slave narrative in that it begins in 1834 – the year slavery legally ended in the English speaking Caribbean, with the four year apprenticeship – Antigua, which opted for full emancipation in 1834, was an exception. I, therefore, describe it as a post-slavery narrative. Its central theme, beginning with Papa Sammy’s ancestor Rachael’s long walk across Antigua to re-connect with the daughter (Minty) sold off years before, is the quest for freedom, life, humanity in a world determined to keep Black people underfoot. “Only when they find Minty they really believe that slavery was all over for sure.” (p. 32) But not without scars, “Minty had a brand on she hand.” (p. 32)
The book is a stark reminder that the legal end of slavery did not mean its end in practice. In some ways, even in a country, politically independent since 1981, with Black leaders and a majority Black population, the struggle for true self-actualization continues. The ways in which the struggle continues and in which they have been brought in to sharp focus in 2020, the year of the COVID-19 global pandemic and the globally resonant Black Lives Matter uprising sparked in North America/the US, and the economic and social quakes sparked by both, is more heavy lifting than this piece can do.
But let’s talk about this book though.
I covered a lot of ground in the 13th installment of my CREATIVE SPACE column of 2020 (SAY THEIR NAME: IN MEMORIAM) in which I wrote about To Shoot Hard Labour by telling the stories of some of the people beaten, raped, and killed, casualties of anti-Blackness post-slavery in Antigua, as well as some of the unsung freedom fighters (labour rights activists). There is likely to be some overlap, but I’ll try to tread ground not covered there, here. I urge you to read that article as a companion to this one.
As the nation was reminded during a month-long on-air book club discussion of it in which I participated, this book covers a lot in its 100 plus years, and even if you’ve read it before, you’re likely to learn something. And even if you’re not from Antigua, what you learn will be educational and impactful as you consider the arc of human history in general and Black people’s experiences in the New World specifically. The particularity of it makes it more potent, not less.
“Just a little away from the market on Church Street in an open space under a big mahogany tree was the old slave market where the bakkra use to sell our generations. That mahogany tree had hoods and spikes in it. After slavery end, Delos Martin, a Scotchman built a business place just west of it, and that would block the view of the courthouse at the corner of Scotch Row and Church Street…the little hill at the head of the city – the one in a straight line with High and St. Mary’s Streets – was called Gibbet’s Hill. It was the place where the open gallow was built – close to what is now called the Botanical Gardens – but the slaves use to call it Dribbet House.
The open gallows were like the frame of a house. Them gallows would have three or four planks overhead. The slaves used to be tied with rope at the neck or shoulders, around the waist, or any part of the body for that matter. They were then pulled up and tie to the overhead planks, and they would be left there to swing. A portion of food would be left in front of them, but that food was to let the slaves see it and not reach it. They were made to swing there till they dead. Nowadays, when you want to show how harsh you want to deal with somebody, you say ‘Me go kill you’. Back then we use to say ‘Me go gibbet you.’” (p. 95)
A long quote, yes, but hopefully you see what I mean, that you don’t have to know those places to see and hear, in Papa Sammy’s own voice, with the vivid descriptiveness of lived and/or handed down memory, the history being revealed.
For me, the reading comes with a sense of loss and reclaiming, as, though I grew up here and knew the named streets, these places, as described, weren’t known to me. There are stories of numerous places for us to re-discover–from the baobob (or as Papa Sammy called it bear bob) tree (the one on the Freemansville main road), which has the distinction of being near a former market where enslaved people were sold, Stony Hill Gully where enslaved people plotted freedom, in 1736 (enduring public torture and death as a consequence), to the lawlessness and licentiousness of bakkra spaces like Guiana Island and Willoughby Bay.
It’s worth noting that though the book, in the spirit of narratives, is autobiographic and, as a result, largely anecdotal, it is not so easily dismissed as a history. For one, it fills the gaps left by the original history of dates and more official sources, i.e., the colonizer’s perspective. For another, it makes a valiant effort to fact check itself.
When Papa Sammy gives 1904 as the year the Gunthropes sugar factory became operational, there’s a footnote that references “Sir Francis Watts, who played a leading role in the establishment of the first central sugar factory” (p. 115) as saying that it was planned in 1903 and reaped its first crop in 1905. The centralization of at least some part of the sugar production process, by the way, began opening up the world of people who had known only plantation life – a very narrow world indeed.
Sugar was king during much of slavery, plantation days, in the Caribbean, and this changed only ever so slowly post-slavery. Massa (also called bakkra – literally “back raw” according to one source* much like “cracker” a pejorative for white in the US* is, according to some sources I’ve seen, a reference to the sound of the whip hitting Black flesh) was still Lord, Master, and the magistrate. The formerly enslaved was still, for all intents and purposes, enslaved. As Papa Sammy said, “in those days, nega if them right, them still wrong” (p. 118)
While the story doesn’t scrimp on the sorrow, it doesn’t wallow in victimhood. It speaks concurrently of the rise of free villages like Freemansville, the harnessing of skills and resources (female-centered work in medicine – a fair amount of folk remedies included), the lingering effects of enslavement (children still carrying the so-called Massa’s name and harsh corporal punishment of children and adults continuing the pattern from the plantation), and the rise of the workers’ rights movements with sometimes fatal consequences (as during the 1918 ‘riots’).
Additionally, the governorship and business and ownership or lack thereof and the transformation of the country, the push for voting rights and ways the community worked together (“the swap, throwing the box and working the lift was the main things that prevent us from eating each other” – p. 116). And there was a beauty. I can verify that as Papa Sammy said, there is no better vantage point for sunset viewing than Clark’s Hill, which is a rising in the middle of the island.
Chattel slavery was not indentured servitude, no matter what some meme said, and the fact that we seem to be forgetting that makes books like To Shoot Hard Labour even more valuable. Consider that post-slavery movement was restricted – you couldn’t just switch employers, and you would be punished physically or locked up for not going to work. You still effectively lived in slave quarters (called the ‘nega-house’ where there was no privacy); you did not police yourself in any way – in fact, “whenever there was a fight or quarrel among nega-house people, it would be massa that would decide who was to get punish and how the punishment would be” (p.38) and who in fact still had and exercised the power of life and death with impunity over the people he once owned.
Consider that post-slavery, you did not own the land you worked nor what it produced unless bakkra said so, that prison labour (literally a jail cart which moved where the work was) was effectively another form of slave labour. Consider all this and more through the lens of current conversations re Blackness, reparations, etc. Consider all this and more, over the 100 years Papa Sammy lived, dying the year after Antigua arrived at political Independence.
Who else to tell this story even if in the telling he disrupts some established narratives–e.g., bringing nuance to the story of modern Antigua, dinging the mythology, speaking to the jealousies and infighting, and the missed opportunities and broken promises even with Black leadership?
You can hear the heartbreak in his words as he reflects on the mahogany tree that once marked the slave market in town. “It was our government and black people that pluck up that tree.” (p. 161). It is we, now in charge, he insists who have forgotten and that’s the heartbreak of this book, but that’s also the hope. These stories are hard to read but they need to be told because – there is much that was done that we can learn from, there is much that was done to us that we must never forget.
Why read this book, beyond it being riveting history? To quote Papa Sammy, “I want the young generations to remember” (p. 161), and this is important because, to quote him further, “I hope that the day will never come again when our people have to suffer indignity like my generation and others have to.” (p. 162) Indignity, when you read this book, and books like it, you will see that that’s putting it mildly.
RIP to the co-author of To Shoot Hard Labour, Antiguan and Barbudan historian, and trade unionist Sir Keithlyn Smith who died July 31st, 2020, and buried in an official funeral on September 15th, 2020.
*Cracker: “Cracker” was used to refer to poor whites, particularly those inhabiting Maryland, Virginia, and Georgia’s frontier regions. It is suspected that it was a shortened version of “whip-cracker” since the manual labor they did involved driving livestock with a whip. Over time this came to include slave-drivers who used Blacks as livestock during chattel slavery, often literally “cracking the whip” to make them walk faster when human bodies replaced cattle or as a warning to enslaved people who were not “working” hard enough. ‘Ev’ry time I hear the crack of a whip, my blood runs cold. I remember on the slave ship, how they brutalised our very souls.’ – Bob Marley, Slave Driver, from Catch a Fire | Source: “Remembering the Crack of the Whip: African-Caribbean Artists in the UK Visualise Slavery.”
Joanne C. Hillhouse is the author of two books of children’s fiction, Lost! A Caribbean Sea Adventure and With Grace, two books for the teen/young adult market The Boy from Willow Bend and Musical Youth, and two adult contemporary books Oh Gad! and Dancing Nude in the Moonlight. Her writing has appeared in several international magazines, literary journals, and anthologies, including, respectively, Essence, The Columbia Review, and New Daughters of Africa.
That’s right. Greenwood Dist is named after the Greenwood District of North Tulsa, home of the renowned Black Wallstreet. [You can learn more about Black Wallstreet in an older version of Black History Fun Fact Friday here.]
Greenwood Dist. is passionate about “proving that a black-owned business can celebrate black excellence while still making the market’s dopest clothing.” Greenwood believes that “fashion, culture, media, and art can and SHOULD help advocate and ensure that people’s voices are heard. Black culture is the biggest determinant of what’s “cool” and popular. Our culture determines everything from the way society talks to the brands that are popular.”
And I’m here for it ya’ll!
Like this “I am Black History,” shirt and those dope sweaters at the top? There are many more like it! Shop Greenwood Dist. by clicking the link below.
Be sure to use discount code Soul at checkout for 10% off!!
Wherever you are in the world, welcome. I have been MIA a minute, and I’ve noticed an uptick of Freedom Readers to this blog. You guys are fantastic.
If you have not already done so, be sure to visit the About Page to learn more about me and this blog.
My name is Yecheilyah, pronounced e-SEE-li-yah, aka EC. It is a Hebrew name meaning Yah Lives. In case you are wondering, I was not born with this name. I follow in the footsteps of Maya Angelou, Ntozake Shange, Sonia Sanchez, Amiri Baraka, Malcolm X, Muhammad Ali, Kwame Ture, and others who are not widely known by their birth names.
At some point, I imagine these people, like I, have awakened to a truth that demanded a better version of themselves and a better way of living. Not only did they strive to change their perspective on life, but they changed their names to fit the newly developed person, they became. (I am drafting an article called “The Power of Your Name,” about the vital role our name plays in author branding. I should have it ready for you sometime next week).
Speaking of growing, this blog is so much more than what it was. It is the primary platform from which I share my work and the work of others. From our home office, living room, or bedroom, we can reach people worldwide. Isn’t that amazing? While I don’t intend to blog forever, I hope what I share here serves a purpose. With so many people home now because of this global pandemic, I take my role as writer/author/blogger even more seriously than ever. I know now more than any other time the power of the written word and its capability to change lives.
This blog runs mainly by a few weekly posts you might want to know about.
The Women with Blue Eyes – I usually author poetry and black historical fiction, but I have a secret love affair with Fantasy and Sci-Fi. My first published novel (The Aftermath, 2012) was Sci-Fi. I got interested in writing in this genre after reading George Orwell’s 1984 in 2008.
The Women with Blue Eyes is a free fantasy story I have been sharing freely here on the blog. When Tina’s nephew Ronnie died, it traumatized her. It wasn’t just that he died. It was the way he died. After taking custody of Ronnie’s sisters and brother, Tina experienced supernatural phenomenons that eventually led to therapy and hallucinogenic suppressants. This didn’t help.
She meets Azbuga, an Archangel sent to tie the missing pieces together, still connecting her to Ronnie’s death.
Paschar (pu-shar), is the angel of vision, once tasked with guarding the veil between the physical world and the heavens, between consciousness and unconsciousness, between awareness and illusion. She once saw the beauty of visions from the Almighty and projected these into human consciousness. Now, she is limited, capable only of seeing physical beauty, extracting energy from mortal man, and projecting illusions. Paschar has fallen, and in a jealous rage, she attacks black men for their energy. How dare he choose them over her?
Can Tina, Jason, and Az defeat Paschar and her Legion once and for all? More black men are dying, and you can’t fight spiritual warfare with physical weapons.
This series is divided into two parts, and I am sharing freely part one, chapters 1-20. Click here to read chapters 1-17. Chapter 18 publishes next week. (Note: The Women with Blue Eyes is a Rated-R Fantasy series. You should know there is some profanity for those sensitive to cursing, and adult language).
My intent is to use this platform as a motivation for completing the series and one day turning it into a full-length novel.
Throwback Thursday Jams – If I was on the edge of a cliff, music would be one force pulling me back from jumping.
Okay, well, that’s a lil dramatic but, yea. I love music. Tee Hee.
So while I’m a serious person, I am also a silly and musical person. I love R&B and old school soul, and Thursdays are all about introducing you to some of my favorite throwback jams. Now, when I say throwback, I don’t mean that they are all technically throwbacks. I post music ranging from Old School (60-80s), the 90s (my fav), and the early 2000s. And sometimes I might post something new-ish because I just like it. Check out the Throwback Thursday category to jam out.
Black History Fun Fact Friday -Black History Fun Fact Friday is a weekly blog series of articles focused on Israelite/Black/African American history. While the title of the series includes the words “Fun Facts,” not all pieces are “fun,” in the sense that is is all positive. My intention with this series is to present black history as it is without adding to or taking away from the truth, despite how brutal or uncomfortable it may be to read.
Take Sun-Down Towns, for example. The unfortunate truth is that some all-white communities today are all-white neighborhoods because they were once sun-down towns or cities where blacks were driven out and not allowed to enter after sun-down. Read more about that here.
And while this is a weekly series, we have had no new articles in a few weeks. There’s a good reason for that, and I will let you all know about that exciting bit of news later!! In the meantime, if you would like to participate, I am still accepting black history guest blog posts for this feature. Please click here to learn how to apply.
These are some top weekly posts you can get used to. In between them, I share poetry, quotes, blog, and writing tips I call Indie Author Basics with EC based on my experience as an Independent Author.
Dr. Samuel A. Cartwright was a prominent physician and medical writer in New Orleans. He specialized in “mental alienation,” an expression that meant a break with reality or a schism in mind. Cartwright is most known and remembered for his theories of drapetomania—the belief that a disease caused slaves to run away. Also known as “Free Negro Insanity,” Cartwright defined “Drapetomania” as the madness of black slaves running away from their white captors.
He derived this term from the Greek words drapeto, meaning “runaway slave” and mania, meaning “mad” or “crazy.” Cartwright believed that blacks who rebelled did so because of mental instability. He thought with the proper medical advice and treatment, they could prevent the practice of slaves running away. By 1851, Cartwright became “Professor of Diseases of the Negro” at the University of Louisiana and was deemed an expert on black behavior.
Cartwright’s theories were readily accepted because the law had already begun to link radicalized slaves who were “disobedient” to mental illness. “Cartwright compared runaway slaves to run away cats who fled only in fits of enthusiasm from their owners, and then returned.” (Eberly, 2014) To put it into perspective the extent to which enslaved men and women were considered commodities, consider redhibition, “a civil law claim against the seller and/or manufacturer of a product in which the buyer demands a full refund or a reduction of the purchase price due to a hidden defect that prevents the product from performing the task for which it was purchased.” (US Legal) If a buyer could prove a slave was mentally ill and that the previous owner knew of this illness (his/her capacity to run away, rebel, e.g.), the buyer could get his money back.
Another disease from Cartwright was “Dysaesthesia Aethiopica,” which in short was a disease Cartwright and other “prominent,” physicians claimed caused laziness in slaves.
“From the careless movements of the individuals affected with the complaint, they are apt to do much mischief, which appears as if intentional, but is mostly owing to the stupidness of mind and insensibility of the nerves induced by the disease. Thus, they break, waste and destroy everything they handle,–abuse horses and cattle,–tear, burn or rend their own clothing, and, paying no attention to the rights of property, steal others, to replace what they have destroyed. They wander about at night, and keep in a half nodding sleep during the day. They slight their work,–cut up corn, cane, cotton or tobacco when hoeing it, as if for pure mischief. They raise disturbances with their overseers and fellow-servants without cause or motive, and seem to be insensible to pain when subjected to punishment.”
– “Diseases and Peculiarities of the Negro Race.”
From James Marion Sims, who experimented on black women’s bodies and without anesthesia (Washington, 2006, pp. 61) to Ota Benga and Saartjie Baartman, whose bodies were displayed like animals, the medical and scientific field has an extensive history of racism against African Americans. Consider that blacks were often wrongfully admitted to mental institutions. Studies conducted in 1973 in the Archives of General Psychiatry showed that African American patients were more likely to be diagnosed as schizophrenic than white patients. Consider too The Negro Project, led by Margaret Sanger of The American Birth Control Federation. It included the forced sterilization of impoverished African Americans.
Consider also the HeLa cell.
Rebecca Skloot’s book, The Immortal Life of Henrietta Lacks, and Oprah’s film adoption brought attention to the widespread illegal use of the HeLa cell line. The two scientists, Dr. Russell W. Brown and James H.M. Henderson made their mark by leading a team of researchers and staff at Tuskegee University in the mass production of the HeLa cells for the development of the polio vaccine. It was believed that blacks were immune to the virus which led to the disregard for the suffering of African Americans with the disease.
Speaking of Tuskegee, we cannot forget the Tuskegee Experiment or, more accurately, “The Tuskegee Study of Untreated Syphilis in the Negro Male.” Initiated by the United States, Public Health Service in connection with the Tuskegee Institute and the John A. Andrew Memorial Hospital, six hundred men were given the Syphilis disease, without consent, and were left untreated. This “experiment” lasted as late as 1972. Long-term effects of untreated syphilis included issues with mental functions, memory loss, loss of vision, balance, and other symptoms.
Understanding mental illness and its role in the enslavement and oppression of blacks is essential because it offers a window into how slave-owners justified slavery to keep it going. Consider the story of the white overseer who used mental illness to explain away why he had killed an enslaved man named Samuel. (Willoughby, 2018). The overseer got word that Samuel had become unmanageable, that he was destroying cotton, and that even after being ordered to be whipped, Samuel said he would not be whipped. Both of Samuel’s acts—his destruction of the cotton crop, and his unwillingness to submit to whipping— represented symptoms for what Cartwright deemed “Dysaesthesia Aethiopica,” and thus the murder was justified.
Be sure to check out more Black History Fun Facts Here.
Ariela Gross, Double Character: Slavery & Mastery in the Antebellum Southern Courtroom (Princeton, 2000), 87
Willoughby, Christopher D. E. “Running Away from Drapetomania: Samuel A. Cartwright, Medicine, and Race in the Antebellum South.” Journal of Southern History, vol. 84 no. 3, 2018, p. 579-614. Project MUSE, doi:10.1353/soh.2018.0164.
Last week, I asked for support of Black-Owned Businesses in a campaign that runs from June 19, 2020 (today) through July 6, 2020. I added that those who RSVP to join the campaign, called My Black Receipt, will be in the running to win a free signed copy of one of my books.
I got no support and no email with an RSVP screenshot for a free book.
What I Got:
6 email unsubscribes
2 Abuse Complaints
1 Nasty Email Reply
I was told I was discriminating against other races and religions and that I had gone “too far,” for asking people to support black-owned businesses.
Instead of talk about that, I thought I’d re-introduce myself. I realize some of you are new to me, so you may not fully understand the extent of my work.
My passion for the state of my people isn’t something that sprang up while watching protests on the news. I am not a “jump on the bandwagon,” kind of person. Supporting black people and black businesses is something I have done for many years. For me, it’s not about “white vs. black.” It has never been. It is about good vs. evil and right vs. wrong.
I write Black Historical Fiction and Poetry. My work targets black readers and aims to raise the consciousness of all people interested in understanding the plight of Black America.
The reason I say “Black America” is because Israelites/Blacks/African Americans have lived a different experience than the rest of the World, and for years that experience has been virtually unknown to non-black people. My goal is to expose those unknowns and free the mind of the black man, woman, and child.
I strive to manifest the restoration of the forgotten past to a forgotten people through book publishing and education.
In doing so, I hope my books can provide a roadmap for all people who find it difficult to be liberated in their own lives. I understand this isn’t easy to do considering the level of misinformation, deception, and religious ideologies that have enslaved us for so long.
I believe that faith without works is dead, so being actively involved is fundamental to me. Black readers are those I target and have targeted long before the Black Lives Matter movement. We are the people for whom my books are written, and these are our stories.
Those familiar with my work understand this statement by no means alienates other nationalities of people.
In the words of the Messiah Yahoshua, who I believe was a black man, “I was sent only to the lost sheep of the house of Israel .” (Matt. 15:24) It is to the lost sheep first and then to the nations. I believe black people are those lost sheep, and before I can liberate the minds of non-black people, I must work to free the black mind first.
I won’t apologize for this.
I have promoted people of all races, belief systems, and countries on this blog and social media, but I have also spoken about my love for black people. Anyone surprised about this either has not been paying attention or doesn’t know me very well and, therefore, are not members of my targeted audience.
And that’s okay.
I am not worried about those who leave because I would rather “die on my feet than live on my knees.” I would rather lose support standing for what I believe in than to sell myself short for a pat on the back. In the words of MLK, who so many non-black people are so apt to quote, “there comes a time when silence is betrayal.”
For anyone to say my request for support of black businesses is abusive and discriminatory is proof of the very abuse and racial discrimination blacks face every day from people who do not understand what it’s like and what it means to be “black” in America.
In book one, Cynthia McNair and her boyfriend, Alex, express some racist feelings toward blacks. They visit Cynthia’s Grandmother Sidney McNair, who recounts the story of her ancestor, a slave named Stella Mae. Cynthia has no idea of her African ancestry or how deep this rabbit hole goes.
In book two, we dig deeper into the McNair family’s legacy. Named after her great-grandmother, Stella has a very light complexion, causing her to be the tease of her classmates. Unable to find solace among her African American contemporaries, Stella finds it challenging to adjust to a world where she is too light to be black. After The Great Depression of the 1930s forces Stella’s family to move to Chicago, a conversation with Aunt Sara provokes Stella to do something that will dramatically affect not just her life but the…