This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1846 edition. Excerpt: ...out of Prison he was so dull, stupid, morose, excited io anger by petty troubles, small in our view but mountains in his way, filled in his waking hours with moody recolleciions, and rising at mid-night to sing incoherent songs, dance without music, read unintelligible jargon and combat with imaginary enemies. How oiherwise than on the score of madness can you explain the stupidity which caused him to be taken lor a fool at Apptegate's, on the way from the Prison lohis home? How else the ignorance which made him incapable ot distinguishing the coin which he offered at the halter's shop? How else his ludicrous apprehensions of being recommitted l0 the State Prison for live years, for the offence of breaking his dinner knife? How else his odd and strange manner of accouniing for his deafness, by expressions, all absurd and senseless, and varying with each interogator; as to John Depuy "that Tyler struck him across the eats with a plank, and knocked his hearing off, and that it never came back; that they put salt in his ear, but it did'nt do any good for his hearing was gone, all knocked off;" to the Rev. John M. Austin, "the siones dropped down my ears, or the stones of my ears dropped down;" to Ethan A. Warden, " got stone in my ear, got it out, thought 1 heard better when I got it out;" to Doctor Hermance, "that his ears dropped," and to the same witness on another occasion, "that the hearing of his ears fell down;" to his mother, ' that his ear had fell down;" to Deborah Depuy, " that Tyler si tuck him on the head with a board and it seemed as if the sound went down his throat;" io Doctor Brigham, "thai he was hurt when young, it made him deaf in the right ear, ..".

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

From Puritan Execution Day rituals to gangsta rap, the black criminal has been an enduring presence in American culture. To understand why, Jeannine Marie DeLombard insists, we must set aside the lenses of pathology and persecution and instead view the African American felon from the far more revealing perspectives of publicity and personhood. When the Supreme Court declared in Dred Scott that African Americans have "no rights which the white man was bound to respect," it overlooked the right to due process, which ensured that black offenders—even slaves—appeared as persons in the eyes of the law. In the familiar account of African Americans' historical shift "from plantation to prison," we have forgotten how, for a century before the Civil War, state punishment affirmed black political membership in the breach, while a thriving popular crime literature provided early America's best-known models of individual black selfhood. Before there was the slave narrative, there was the criminal confession. Placing the black condemned at the forefront of the African American canon allows us to see how a later generation of enslaved activists—most notably, Frederick Douglass—could marshal the public presence and civic authority necessary to fashion themselves as eligible citizens. At the same time, in an era when abolitionists were charging Americans with the national crime of "manstealing," a racialized sense of culpability became equally central to white civic identity. What, for African Americans, is the legacy of a citizenship grounded in culpable personhood? For white Americans, must membership in a nation built on race slavery always betoken guilt? In the Shadow of the Gallows reads classics by J. Hector St. John de Crèvecoeur, Edgar Allan Poe, Frederick Douglass, Herman Melville, George Lippard, and Edward Everett Hale alongside execution sermons, criminal confessions, trial transcripts, philosophical treatises, and political polemics to address fundamental questions about race, responsibility, and American civic belonging.

New York Times bestseller One of the top ten books of the year at The New York Times Book Review, The Wall Street Journal, Vulture/New York magazine A best book of the year at Los Angeles Times, Time, NPR, The Washington Post, Bookforum, The New Yorker, Vogue, Kirkus The acclaimed, award-winning New Yorker writer Rachel Aviv offers a groundbreaking exploration of mental illness and the mind, and illuminates the startling connections between diagnosis and identity. Strangers to Ourselves poses fundamental questions about how we understand ourselves in periods of crisis and distress. Drawing on deep, original reporting as well as unpublished journals and memoirs, Rachel Aviv writes about people who have come up against the limits of psychiatric explanations for who they are. She follows an Indian woman celebrated as a saint who lives in healing temples in Kerala; an incarcerated mother vying for her children’s forgiveness after recovering from psychosis; a man who devotes his life to seeking revenge upon his psychoanalysts; and an affluent young woman who, after a decade of defining herself through her diagnosis, decides to go off her meds because she doesn’t know who she is without them. Animated by a profound sense of empathy, Aviv’s gripping exploration is refracted through her own account of living in a hospital ward at the age of six and meeting a fellow patient with whom her life runs parallel—until it no longer does. Aviv asks how the stories we tell about mental disorders shape their course in our lives—and our identities, too. Challenging the way we understand and talk about illness, her account is a testament to the porousness and resilience of the mind.