This book examines apian imagery—bees, drones, honey, and the hive—in the seventeenth- and eighteenth-century literary and oral traditions. In England and the New World colonies during a critical period of expansion, the metaphor of this communal society faced unprecedented challenges even as it came to emblematize the process of colonization itself. The beehive connected the labor of those marginalized by race, class, gender, or species to larger considerations of sovereignty. This study examines the works of William Shakespeare; Francis Daniel Pastorius; Hopi, Wyandotte, and Pocasset cultures; John Milton; Hester Pulter; and Bernard Mandeville. Its contribution lies in its exploration of the simultaneously recuperative and destructive narratives that place the bee at the nexus of the human, the animal, and the environment. The book argues that bees play a central representational and physical role in shaping conflicts over hierarchies of the early transatlantic world.

Bullets and Fire is the first collection on lynching in Arkansas, exploring all corners of the state from the time of slavery up to the mid-twentieth century and covering stories of the perpetrators, victims, and those who fought against vigilante violence. Among the topics discussed are the lynching of slaves, the Arkansas Council of the Association of Southern Women for the Prevention of Lynching, the 1927 lynching of John Carter in Little Rock, and the state’s long opposition to a federal anti-lynching law. Throughout, the work reveals how the phenomenon of lynching—as the means by which a system of white supremacy reified itself, with its perpetrators rarely punished and its defenders never condemned—served to construct authority in Arkansas. Bullets and Fire will add depth to the growing body of literature on American lynching and integrate a deeper understanding of this violence into Arkansas history.

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.

Beginning with the 1760s, when lynching and vigilantism came into existence in what is now the United States, this bibliography fills a void in the history of American collective violence. It covers over 4,200 works dealing with vigilante movements and lynchings, including books, articles, government documents, and unpublished theses and dissertations. Following a chapter listing general works, the book is arranged into four chronological chapters, a chapter on the frontier West, a chapter on anti-lynching, and chapters on literature and art. The book opens with a chapter devoted to general works. It then includes chapters on the period from the Colonial era to the Civil War, the Civil War through 1881, and the periods from 1882 to 1916 and 1917 to 1996. The work then turns to the frontier West and to anti-lynching bills, laws, organizations, and leaders. Finally, the book includes chapters on vigilantism in literature and art.

This incisive study takes on one of the grimmest secrets in America's national life—the history of lynching and, more generally, the public punishment of African Americans. Jacqueline Goldsby shows that lynching cannot be explained away as a phenomenon peculiar to the South or as the perverse culmination of racist politics. Rather, lynching—a highly visible form of social violence that has historically been shrouded in secrecy—was in fact a fundamental part of the national consciousness whose cultural logic played a pivotal role in the making of American modernity. To pursue this argument, Goldsby traces lynching's history by taking up select mob murders and studying them together with key literary works. She focuses on three prominent authors—Ida B. Wells-Barnett, Stephen Crane, and James Weldon Johnson—and shows how their own encounters with lynching influenced their analyses of it. She also examines a recently assembled archive of evidence—lynching photographs—to show how photography structured the nation's perception of lynching violence before World War I. Finally, Goldsby considers the way lynching persisted into the twentieth century, discussing the lynching of Emmett Till in 1955 and the ballad-elegies of Gwendolyn Brooks to which his murder gave rise. An empathic and perceptive work, A Spectacular Secret will make an important contribution to the study of American history and literature.

Whether conveyed through newspapers, photographs, or Billie Holliday’s haunting song “Strange Fruit,” lynching has immediate and graphic connotations for all who hear the word. Images of lynching are generally unambiguous: black victims hanging from trees, often surrounded by gawking white mobs. While this picture of lynching tells a distressingly familiar story about mob violence in America, it is not the full story. Lynching in America presents the most comprehensive portrait of lynching to date, demonstrating that while lynching has always been present in American society, it has been anything but one-dimensional. Ranging from personal correspondence to courtroom transcripts to journalistic accounts, Christopher Waldrep has extensively mined an enormous quantity of documents about lynching, which he arranges chronologically with concise introductions. He reveals that lynching has been part of American history since the Revolution, but its victims, perpetrators, causes, and environments have changed over time. From the American Revolution to the expansion of the western frontier, Waldrep shows how communities defended lynching as a way to maintain law and order. Slavery, the Civil War, and especially Reconstruction marked the ascendancy of racialized lynching in the nineteenth century, which has continued to the present day, with the murder of James Byrd in Jasper, Texas, and Supreme Court Justice Clarence Thomas’s contention that he was lynched by Congress at his confirmation hearings. Since its founding, lynching has permeated American social, political, and cultural life, and no other book documents American lynching with historical texts offering firsthand accounts of lynchings, explanations, excuses, and criticism.

Stage properties are an often-ignored aspect of theatrical productions, in part because their usage is meant to be seamlessly integrated into the performance instead of a focal point for the audience. The contributors illuminate many aspects of this largely ignored yet crucial part of the theatre.