The Congress on Africa was held in Atlanta, Georgia, in December 1895 as part of a campaign to promote African American involvement in Methodist missions to Africa. Held in conjunction with the same exposition where Booker T. Washington delivered his famous Atlanta Compromise address, the Congress in some ways shared his accommodationist approach to racial advancement. Yet the diverse and distinguished array of African American speakers at the Congress also developed a complex rationale for connecting the peoples of the African diaspora through missions. At the same time that they affirmed the need for “civilizing” influences as an indispensable element for racial progress, they also envisioned a reinvigorated racial identity and a shared racial destiny emerging through the interactions of black missionaries and Africans. In particular, the most thoughtful participants in the Congress anticipated the forging of a black civilization that combined the unique gifts of their race with the progressive dynamics of Christian culture. These ideas parallel and likely influenced W. E. B. Du Bois's concept of double-consciousness. At a time when the missionary movement provided the most important source of awareness about Africa among African Americans, it is possible to discern in the proceedings of the Congress on Africa the glimmerings of a new pan-African consciousness that was destined to have a profound effect on African American intellectual life in the twentieth century.

In the early twentieth century, African Americans waged a propaganda war against the scourge of lynching. Theater was a vital element of this effort, and over two dozen plays were written with the intent of depicting the horror that accompanied these brutal acts of violence. These plays, though largely neglected by historians, have been studied as elements of an effort to promote antilynching legislation. Until now, however, their testimony to important religious currents in African American culture has been ignored. A closer look at these texts reveals them to be engaged in theological discourse that examines the role of God and the church in the face of evil. These plays reflect a burgeoning humanism in African American culture, particularly among the intelligentsia. By creating characters and constructing plot lines that explicitly challenged the goodness of God in light of African American suffering, or by exposing the hypocrisy and impotence of the church to bring about an end to violence and oppression, these playwrights were engaged in a form of vernacular theology. By observing their efforts, we add a fresh layer to our understanding of African American life during this time period.

This article argues that Christian beliefs and concerns shaped the political culture of anti-nuclear activism in the early years of the Cold War. It focuses in particular on the origins of the Peacemakers, a group founded in 1948 by a mostly Protestant group of radical pacifists to oppose conscription and nuclear proliferation. Like others who came of age in the interwar years, the Peacemakers questioned the Enlightenment tradition, with its emphasis on reason and optimism about human progress, and believed that liberal Protestantism had accommodated itself too easily to the values of modern, secular society. But rather than adopt the “realist” framework of their contemporaries, who gave the United States critical support in its Cold War with the Soviet Union, radicals developed a politics of resistance rooted in a Christian framework in which repentance for dropping atomic bombs on Hiroshima and Nagasaki was the first step toward personal and national redemption. Although they had scant influence on American policymakers or the public in the early years of the Cold War, widespread opposition to nuclear testing and U.S. foreign policy in the late 1950s and 1960s launched them into leadership roles in campaigns for nuclear disarmament and peace.