Review of The Black Jacobins by C.L.R. James

CYRIL LIONEL ROBERT JAMES. The Black Jacobins: Toussaint L’Ouverture and the San Domingo Revolution. New York: The Dial Press, 1938. Pp. xi, 396. $3.75.

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Introduction:

The Black Jacobins is the seventh and most famous work written by C.L.R. James, the late Afro-Trinidadian historian, journalist, playwright, professor, social theorist, and essayist. It is a vivid and nuanced historical narrative of the San Domingo Revolution, popularly known as “the only successful slave revolt in history,” and its “courageous leader,” Toussaint L’Ouverture, from the outbreak of the French Revolution in 1789 to the declaration of independence for Haiti in 1804. Written in anticipation of widespread African decolonization, with sincere Marxist-socialist leanings and a defining sense of solidarity for oppressed peoples, The Black Jacobins is widely hailed as a classic critique of imperialist and colonialist historiography. James immerses himself in the complex transatlantic drama of the protracted San Domingo Revolution, all while keeping his pen on the pulse of the longue durée; as he makes clear with poignant references to Abraham Lincoln, Vladimir Lenin, Leon Trotsky, and, in the amended edition, figures like José Martí, Fidel Castro, and Patrice Lumumba, the tumultuous plight of Haitian Independence was not an isolated historical event. Rather, it was one of the most dramatic, edifying, and formative chapters in an enduring struggle for global liberation.

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Review of Black Society in Spanish Florida by Jane Landers

JANE LANDERS. Black Society in Spanish Florida. Forward by Peter H. Wood. (Blacks in the New World.) Urbana and Chicago: University of Illinois Press, 1999. Pp. xiv, 390. $29.00.

Introduction:

Cover for LANDERS: Black Society in Spanish Florida

Black Society in Spanish Florida is the first book written by Jane Landers, colonial Latin Americanist, historian of the Caribbean and the Hispanic southeast, and assistant professor of History at Vanderbilt University. Inthe text, Landers presents the first English-language, conceptual history of black society on the Florida peninsula during the first and second Spanish tenures (1565-1763, and 1783-1821). After addressing precedents for Afro-Floridian history on the Iberian Peninsula and in the Spanish Caribbean, and covering activities through the British interregnum (1763-1783), Landers organizes her study into six conceptual chapters on the remaining years: entrepreneurs and property holders, religious life, the lives of women, slaves and the slave trade, crime and punishment, and military service. Landers then ends with a critical chapter and afterward on “the demise of Spanish Florida,” and its historical consequences, as a result of American expansionist policies. Overall, Black Society recaptures not only the shared, tri-racial history of Spanish Florida and the extraordinary “cultural diversity and adaptation” of its black inhabitants, but it documents the conquest of a better model of multiculturalism by the prolonged, racist imperialism of Anglo-American societies.

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Vengeance and History in Django Unchained

This is one of two reviews of “Django Unchained” by Lakefront Historian bloggers. See also ajdilorenzo’s post on the film.

 

Who would guess that in the past year two of the most talked about movies would be on the topic of American slavery? If you have not noticed yet Lincoln and Django Unchained deal with the history of slavery very differently. Some Americans, interestingly a select few African Americans, have decried the film as irreverent in its revisionism of slavery or paradoxically for its use of the “n-word”. I suggest that the film memorably revises the remembrance of slavery and, in particular, plays to the emotions of modern descendants of enslaved people.

American slavery remains as a stain on our history, one of its greatest philosophical hypocrisies. Slavery for many contemporary Americans is widely considered immoral and shameful yet socially irrelevant in our daily lives today. On the other hand, bring up slavery with an African American and you may get reaction ranging from ambivalence to anger to, more insidiously, shame. What Quentin Tarantino really does with his film is counteract the shame or guilt that occurs when someone asks: ‘why didn’t they fight?’ or ‘why didn’t we fight back?’ when referring to slaves. In fact, Tarantino includes that theme in his dialogue. The character Django is not the slave who is simply worked, branded, sold, and tortured (even though all of those things happen to him); he is the symbol of retribution and the Black hero who independently delivers his bloody judgment on the institution of slavery. Django is the answer to the question, at least in fantasy.

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