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A landmark in the conversation about race and religion in America. "They put him to death by hanging him on a tree." Acts 10:39 The cross and the lynching tree are the two most emotionally charged symbols in the history of the African American community. In this powerful new work, theologian James H. Cone explores these symbols and their interconnection in the history and souls of black folk. Both the cross and the lynching tree represent the worst in human beings and at the same time a thirst for life that refuses to let the worst determine our final meaning. While the lynching tree symbolized white power and "black death," the cross symbolizes divine power and "black life" God overcoming the power of sin and death. For African Americans, the image of Jesus, hung on a tree to die, powerfully grounded their faith that God was with them, even in the suffering of the lynching era. In a work that spans social history, theology, and cultural studies, Cone explores the message of the spirituals and the power of the blues; the passion and of Emmet Till and the engaged vision of Martin Luther King, Jr.; he invokes the spirits of Billie Holliday and Langston Hughes, Fannie Lou Hamer and Ida B. Well, and the witness of black artists, writers, preachers, and fighters for justice. And he remembers the victims, especially the 5,000 who perished during the lynching period. Through their witness he contemplates the greatest challenge of any Christian theology to explain how life can be made meaningful in the face of death and injustice.
Uses excerpts from newspapers and editorials and accounts of the murder and trial to examine the lynching of fourteen-year-old Emmett Till in 1955, in a volume which also contains selections from poems, songs, interviews, essays, and memoirs relating to the incident.
Reconstructs the case of Mack Charles Parker, a young African-American man who was lynched by a white mob in 1959 after being charged with the rape of a white woman in Poplarville, Mississippi.
On January 20, 1942, black oil mill worker Cleo Wright assaulted a white woman in her home and nearly killed the first police officer who tried to arrest him. An angry mob then hauled Wright out of jail and dragged him through the streets of Sikeston, Missouri, before burning him alive. Wright's death was, unfortunately, not unique in American history, but what his death meant in the larger context of life in the United States in the twentieth-century is an important and compelling story. After the lynching, the U.S. Justice Department was forced to become involved in civil rights concerns for the first time, provoking a national reaction to violence on the home front at a time when the country was battling for democracy in Europe. Dominic Capeci unravels the tragic story of Wright's life on several stages, showing how these acts of violence were indicative not only of racial tension but the clash of the traditional and the modern brought about by the war. Capeci draws from a wide range of archival sources and personal interviews with the participants and spectators to draw vivid portraits of Wright, his victims, law-enforcement officials, and members of the lynch mob. He places Wright in the larger context of southern racial violence and shows the significance of his death in local, state, and national history during the most important crisis of the twentieth-century.
More than just a civil war, the Mexican Revolution in 1910 triggered hostilities along the border between Mexico and the United States. In particular, the decade following the revolution saw a dramatic rise in the lynching of ethnic Mexicans in Texas. This book argues that ethnic and racial tension brought on by the fighting in the borderland made Anglo-Texans feel justified in their violent actions against Mexicans. They were able to use the legal system to their advantage, and their actions often went unpunished. Villanueva’s work further differentiates the borderland lynching of ethnic Mexicans from the Southern lynching of African Americans by asserting that the former was about citizenship and sovereignty, as many victims’ families had resources to investigate the crimes and thereby place the incidents on an international stage.
On a warm August night in 1911, Zachariah Walker was lynched--burned alive--by an angry mob on the outskirts of Coatesville, a prosperous Pennsylvania steel town. At the time of his very public murder, Walker, an African American millworker, was under arrest for the shooting and killing of a respected local police officer. Investigated by the NAACP, the horrific incident garnered national and international attention. Despite this scrutiny, a conspiracy of silence shrouded the events, and the accused men and boys were found not guilty at trial. On the 100th anniversary of the lynching and the 20th anniversary of the book's original release as No Crooked Death, authors Dennis B. Downey and Raymond M. Hyser bring new insight to events that rocked a community.
The Lynching of Ladies is the first in a trilogy of memoirs about two best friends. After experiencing one traumatic experience after another, one dresses herself in tenacity and perseverance and the other in self-loathing and defeat. These ladies experience social, emotional, and physical lynchings throughout their young lives. When Casey tells Arianna, "Men go off to war, women go off to men there are casualties in both," a turning point begins. Both carry the broken pieces of their adolescence into adulthood, with disastrous results . . . until one day a healthy dose of self-esteem saves one of them in a life-altering way. These events do not happen without much wit and laughter. It is written for women who want to stop being the victim and become the victor. This is a self-help primer for women all over the world, regardless of social station or economic background. It is written to help stop "the lynching of ladies!" None of this happens without much wit and laughter.
He is a blast from the Yarford city past and now he is beat reporter for the city paper. I thought this may be refreshing new beginning by introducing a character from the past, well at least it was not the two-faced Chester Mingolt - everyone can now take a collective sigh of relief.
I am a Man that's been thrown into Prison by all means. I had no Rights at my trial, Constitutional, or otherwise. I wrote the Book to show the Public what steps the Courts in South Carolina will take to imprison this Citizen. The reader can make his or her own mind about why I gave the Book its Title.