“A solid introduction and useful survey of slaving activity by the Muslims of North Africa over the course of several centuries.” —Chronicles Everybody knows about the transatlantic slave trade, which saw black Africans snatched from their homes, taken across the Atlantic Ocean and then sold into slavery. However, a century before Britain became involved in this terrible business, whole villages and towns in England, Ireland, Italy, Spain and other European countries were being depopulated by slavers, who transported the men, women and children to Africa where they were sold to the highest bidder. This is the forgotten slave trade; one which saw over a million Christians forced into captivity in the Muslim world. Starting with the practice of slavery in the ancient world, Simon Webb traces the history of slavery in Europe, showing that the numbers involved were vast and that the victims were often treated far more cruelly than black slaves in America and the Caribbean. Castration, used very occasionally against black slaves taken across the Atlantic, was routinely carried out on an industrial scale on European boys who were exported to Africa and the Middle East. Most people are aware that the English city of Bristol was a major center for the transatlantic slave trade in the eighteenth century, but hardly anyone knows that 1,000 years earlier it had been an important staging-post for the transfer of English slaves to Africa. Reading this book will forever change how you view the slave trade and show that many commonly held beliefs about this controversial subject are almost wholly inaccurate and mistaken.

Slaves to Fashion is a pioneering cultural history of the black dandy, from his emergence in Enlightenment England to his contemporary incarnations in the cosmopolitan art worlds of London and New York. It is populated by sartorial impresarios such as Julius Soubise, a freed slave who sometimes wore diamond-buckled, red-heeled shoes as he circulated through the social scene of eighteenth-century London, and Yinka Shonibare, a prominent Afro-British artist who not only styles himself as a fop but also creates ironic commentaries on black dandyism in his work. Interpreting performances and representations of black dandyism in particular cultural settings and literary and visual texts, Monica L. Miller emphasizes the importance of sartorial style to black identity formation in the Atlantic diaspora. Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.

How an eighteenth-century engraving of a slave ship became a cultural icon of Black resistance, identity, and remembrance One of the most iconic images of slavery is a schematic wood engraving depicting the human cargo hold of a slave ship. First published by British abolitionists in 1788, it exposed this widespread commercial practice for what it really was—shocking, immoral, barbaric, unimaginable. Printed as handbills and broadsides, the image Cheryl Finley has termed the "slave ship icon" was easily reproduced, and by the end of the eighteenth century it was circulating by the tens of thousands around the Atlantic rim. Committed to Memory provides the first in-depth look at how this artifact of the fight against slavery became an enduring symbol of Black resistance, identity, and remembrance. Finley traces how the slave ship icon became a powerful tool in the hands of British and American abolitionists, and how its radical potential was rediscovered in the twentieth century by Black artists, activists, writers, filmmakers, and curators. Finley offers provocative new insights into the works of Amiri Baraka, Romare Bearden, Betye Saar, and many others. She demonstrates how the icon was transformed into poetry, literature, visual art, sculpture, performance, and film—and became a medium through which diasporic Africans have reasserted their common identity and memorialized their ancestors. Beautifully illustrated, Committed to Memory features works from around the world, taking readers from the United States and England to West Africa and the Caribbean. It shows how contemporary Black artists and their allies have used this iconic eighteenth-century engraving to reflect on the trauma of slavery and come to terms with its legacy.

In this riveting book, authors and authorities on modern day slavery Kevin Bales and Ron Soodalter expose the disturbing phenomenon of human trafficking and slavery that exists now in the United States. In The Slave Next Door we find that slaves are all around us, hidden in plain sight: the dishwasher in the kitchen of the neighborhood restaurant, the kids on the corner selling cheap trinkets, the man sweeping the floor of the local department store. In these pages we also meet some unexpected slaveholders, such as a 27-year old middle-class Texas housewife who is currently serving a life sentence for offences including slavery. Weaving together a wealth of voices—from slaves, slaveholders, and traffickers as well as from experts, counselors, law enforcement officers, rescue and support groups, and others—this book is also a call to action, telling what we, as private citizens, can do to finally bring an end to this horrific crime.

In SoulStirrers, H. Ike Okafor-Newsum describes the birth and development of an artistic movement in Cincinnati, Ohio, identified with the Neo-Ancestral impulse. The Neo-Ancestral impulse emerges as an extension of the Harlem Renaissance, the Negritude Movement, and the Black Arts Movement, all of which sought to re-represent the “primitive” and “savage” Black and African in new terms. Central to the dominant racial framework has always been the conception that the Black subject was not only inferior, but indeed incapable of producing art. The Neo-Ancestral impulse posed a challenge to both existing form and content. Like its intellectual antecedents, the movement did not separate art from life and raised a central question, one that the “soul stirrers” of Cincinnati are engaging in their artistic productions. Okafor-Newsum defines collapsing of the sacred and the profane as a central tendency of African aesthetics, transformed and rearticulated here in the Americas. In this volume, the artistic productions ask readers to consider the role of those creating and viewing this art by attempting to shift the way in which we view the ordinary. The works of these artists, therefore, are not only about the survival of African-derived cultural forms, though such remains a central effect of them. These extraordinary pieces, installations, and movements consistently refer to the cultural reality of the Americas and the need for political and intellectual transformation. They constitute important intellectual interventions that serve as indispensable elements in the redefinition and reinterpretation of our society. Featuring numerous color illustrations and profiles of artists, this volume reveals exciting trends in African American art and in the African diaspora more broadly.

Part fun- and information-filled almanac, part good book guide, the Children's Book-a-Day Almanac is a new way to discover a great children's book--every day of the year! This fresh, inventive reference book is a dynamic way to showcase the gems, both new and old, of children's literature. Each page features an event of the day, a children's book that relates to that event, and a list of other events that took place on that day. Always informative and often surprising, celebrate a year of literature for children with The Children's Book-a-Day Almanac.

White Cargo is the forgotten story of the thousands of Britons who lived and died in bondage in Britain's American colonies. In the seventeenth and eighteenth centuries, more than 300,000 white people were shipped to America as slaves. Urchins were swept up from London's streets to labor in the tobacco fields, where life expectancy was no more than two years. Brothels were raided to provide "breeders" for Virginia. Hopeful migrants were duped into signing as indentured servants, unaware they would become personal property who could be bought, sold, and even gambled away. Transported convicts were paraded for sale like livestock. Drawing on letters crying for help, diaries, and court and government archives, Don Jordan and Michael Walsh demonstrate that the brutalities usually associated with black slavery alone were perpetrated on whites throughout British rule. The trade ended with American independence, but the British still tried to sell convicts in their former colonies, which prompted one of the most audacious plots in Anglo-American history. This is a saga of exploration and cruelty spanning 170 years that has been submerged under the overwhelming memory of black slavery. White Cargo brings the brutal, uncomfortable story to the surface.

What is poetry? Often it is understood as a largely self-enclosed verbal system—“suspended from any mutual interaction with alien discourse,” in the words of Mikhail Bakhtin. But in Poetry and Its Others, Jahan Ramazani reveals modern and contemporary poetry’s animated dialogue with other genres and discourses. Poetry generates rich new possibilities, he argues, by absorbing and contending with its near verbal relatives. Exploring poetry’s vibrant exchanges with other forms of writing, Ramazani shows how poetry assimilates features of prose fiction but differentiates itself from novelistic realism; metabolizes aspects of theory and philosophy but refuses their abstract procedures; and recognizes itself in the verbal precision of the law even as it separates itself from the law’s rationalism. But poetry’s most frequent interlocutors, he demonstrates, are news, prayer, and song. Poets such as William Carlos Williams and W. H. Auden refashioned poetry to absorb the news while expanding its contexts; T. S. Eliot and Charles Wright drew on the intimacy of prayer though resisting its limits; and Paul Muldoon, Rae Armantrout, and Patience Agbabi have played with and against song lyrics and techniques. Encompassing a cultural and stylistic range of writing unsurpassed by other studies of poetry, Poetry and Its Others shows that we understand what poetry is by examining its interplay with what it is not.