Saidiya Hartman, Columbia University Torkwase Dyson, Artist & Scholar Marisa Fuentes, Rutgers University Sarah Haley, Columbia University Cameron Rowland, Artist & Scholar Alex Weheliye, NorthWestern University
In Scenes of Subjection, Saidiya Hartman’s first book, now revised and expanded—her singular talents and analytical framework turn away from the “terrible spectacle” and toward the forms of routine terror and quotidian violence characteristic of slavery, illuminating the intertwining of injury, subjugation, and selfhood even in abolitionist depictions of enslavement. By attending to the withheld and overlooked at the margins of the historical archive, Hartman radically reshapes our understanding of history, in a work as resonant today as it was on first publication, now for a new generation of readers. This 25th anniversary edition features a new preface by the author, a foreword by Keeanga-Yamahtta Taylor, an afterword by Marisa J. Fuentes and Sarah Haley, notations with Cameron Rowland, and compositions by Torkwase Dyson.
The Slave Narrative Collection, a group of autobiographical accounts of former slaves, today stands as one of the most enduring and noteworthy achievements of the WPA, Compiled in seventeen states during the years 1936-38, the collection consists of more than two thousand interviews with former slaves, most of them first-person accounts of slave life and the respondents’ own reactions to bondage.
While African Americans were virtually excluded from Writers’ Projects in several Southern states, the pattern was not universal. In several states–notably Virginia, Louisiana, and Florida–ambitious black units flourished; in several others the number of black workers fluctuated in response to work quotas. And the energies of the black writers were directed almost exclusively to the collection of materials pertaining to African-American culture.
The relative paucity of black personnel on the Writers’ Project makes their accomplishments all the more impressive. In addition to the collection and preparation of materials for the state guides, African-American workers in Arkansas, Louisiana, Florida, and Virginia engaged in research studies on black history and culture. The Washington office of the FWP also contemplated publishing a history of the antislavery struggle “from the Negro point of view”; development of a comprehensive bibliography of writings on African-American culture; and the compilation of a documentary record of events in the history of the Underground Railroad. Sterling A. Brown, whose unstinting support and encouragement sustained each of those efforts, had personally formulated plans for the publication of a volume that would draw substantially upon Writers’ Project materials obtained by black researchers. These studies were curtailed and publication plans based upon them thwarted, however, by the abrupt termination of the Writers’ Project in 1939. Only The Negro in Virginia, a product of that state’s black unit directed by Roscoe E. Lewis and one of the outstanding achievements of the Writers’ Project, attained publication.
Limitations of these narratives–
…At best with the awareness that a totalizing of history cannot be reconstructed from these interested, selective, and fragmentary accounts and with an acknowledgment of the interventionist role of the interpreter, the equally interested labor of historical revision, and the impossibility of reconstituting the past free from the disfigurements of present concerns. With all these provisos issued, these narratives nonetheless remain an important source for understanding the everyday experience of slavery and its aftermath….
Saidiya V. Hartman, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (New York, 1997), 11.
Martin Jackson, ex-slave, San Antonio. United States San Antonio Texas, 1937. Photograph. https://www.loc.gov/item/99615314/.James Green, ex-slave, San Antonio. United States San Antonio Texas, 1937. Photograph. https://www.loc.gov/item/99615295/.Albert Todd, ex-slave, San Antonio. United States San Antonio Texas, 1937. July 9. Photograph. https://www.loc.gov/item/99615382/.
William Branch, 322 Utah St. San Antonio, TX (Federal Writers’ Project: Slave Narrative Project, Vol. 16, Texas, Part 1, Adams-Duhon. 1936. Manuscript/Mixed Material. p.149)
…the “black revolution” had gone beyond the “rights of Negroes.” The struggle, he said, is “forcing America to face all of its interrelated flaws—racism, poverty, militarism and materialism. It is exposing the evils that are rooted deeply in the whole structure of our society. It reveals systemic rather than superficial flaws and suggests that radical reconstruction of society itself is the real issue to be faced.”
[…]
His political maturation prompted him to connect the U.S. war in Vietnam to the deteriorating conditions in U.S. cities, and of even more consequence, it prompted him to search for more effective tactics in confronting the legal menace of segregation in the North and the attendant crises: slum conditions, unemployment, and police brutality.
Within this context, King began to publicly articulate an anticapitalist analysis of the United States that put him in sync with rising critiques from the global revolutionary left of market-based economies. Despite the “affluence” of the United States, it was, nevertheless, wracked by poverty and entrenched in an endless war. King masterfully tore down the wall that the political and economic establishments used to separate domestic policies from foreign policies.
