Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-20T09:26:16.663Z Has data issue: false hasContentIssue false
This chapter is part of a book that is no longer available to purchase from Cambridge Core

Chapter 7 - Henry Box Brown, African Atlantic Artists and Radical Interventions

from Part II - Historical Iconography and Visualising Transatlantic Slavery

Alan Rice
Affiliation:
University of Central Lancashire
Get access

Summary

It is 1849, you are a Southern US functionary in charge of the penitentiary in Richmond, Virginia and you have to enumerate your prisoners, divide them into Black and white, make sure the register tallies and accurately document a novel and idiosyncratic crime to sit alongside the others:

3/1 For murder in the second degree

3/0 For slave stealing

1/0 For aiding slaves to abscond

5/1 For larceny

13/3 For forgery

1/1 For bigamy

1/0 For arson

1/0 For barn burning

1/0 For highway robbery

1/0 For having a ½ dollar die to counterfeit with

1/0 For enticing slaves to be boxed up.

In the twenty-first century, this factual record of a novel form of slave fugitivity is now in the archives and survives as a powerful testament to the bureaucratic discourse of the Southern US slave power. It is recorded as a specific form of criminality with its own row in the column. We might speculate with Dionne Brand as to the way such a functionary would undertake his account keeping. She describes how:

In this museum are records, books, lists, names of the enslaved and their age, sex and physical condition … I look down each list, I try to imagine someone writing these lists. Would they have written them down … [contemporaneously] … or would they have kept a running record? Would they have had a cup of tea before going to the job or would they have stopped in the middle, gone home to have an afternoon nap, and returned thinking what a nuisance paperwork was? Or would this person have written the [facts and figures] quite happily with a flourish in the wrist, congratulating himself or herself [on the completion of the task]?

The task is to leave a complete record without blemish. The task of the prison guard/plantation owner/slave ship captain/archivist is to make the enumeration everyday, ordinary, so as to dispel any doubt that this is normality. Brand's description of the workaday nature of agents within the panoptical control of the ‘peculiar institution’ of slavery articulates the archive's powerful message of a controlled world to which there is no alternative. As Stephanie Smallwood reminds us, such business narratives are often the only evidence we have of individuals who lived everyday lives in the slave system:

Type
Chapter
Information
Visualising Slavery
Art Across the African Diaspora
, pp. 104 - 118
Publisher: Liverpool University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×